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| S; PAINTINGS 
| : Water Colors, Drawings 


Objects of Art, etc. 


Including many Old Masters collected during 
the last forty years 


The Collection of 


Dr. Isaac W. Heysinger, M.A., M.D. 


of Philadelphia 


Captain Military Order Loyal Legion 
Member Military Service Institution of the U.S. 
Headquarters Governors Island, New York 


Author of Various Books of Science and Oriental Languages, etc. 


Now on Exhibition at 


The Philadelphia Art Galleries 


S. E. Corner 15th and Chestnut Streets 


Philadelphia, Pa. 


Entrance 103 S. 15th St. 5 


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CATALOGUE 


fh fhe: . of the 

_ Oil Paintings, Water Colors, 

Drawings and Objects of Art 
| Related Thereto | 


ie Including Many Old Masters and Rare 
ene Works of Art 


The Collection of Doctor 


| Isaac W. Heysinger, M.A., M.D. 
| Collected from Private Sources 


Mostly in Collaboration with many Eminent 
Artist-Friends during the past Forty Years 


To be Sold at 


The Philadelphia Art Galleries 


S. E. Corner Fifteenth and Chestnut Streets 
Second Floor 


Philadelphia, Pa. 


Tuesday, Wednesday and Thursday, 
May 27, 28, 29, at 2.30 o’clock, 


each afternoon 


Entrance—103 South Fifteenth Street (Elevator) 
(Bell Telephone, Spruce 6148) 


ITI. 


IV. 


VII. 


VIII. 


Terms and Conditions of Sale 


All bills payable in Cash before delivery. 


The highest bidder to be the buyer, and if any dispute 
arise between two or more bidders the lot so in dispute, 
shall be immediately put up again and resold. 


The purchasers to give their names and addresses, and to 
pay down a cash deposit of at least 25 per cent. of the 
purchase money, or the whole if required, in default of 
which the lot or lots so purchased to be immediately put 
up again and resold. 


The lots to be taken away at the buyer’s expense and risk 
within twenty-four hours of the conclusion of the sale, 
and the remainder of the purchase money to be abso- 
lutely paid or otherwise settled for to the satisfaction 
of the manager on or before delivery, in default of which 
the undersigned will not hold themselves responsible 
if the lots be lost, stolen, damaged or destroyed, but 
they will be left at the sole risk of the purchaser; and 
no goods to be removed unless receipted bills are 
presented. 


No claims allowed after the removal of goods. 


Articles are exposed for public examination one or more 
days, and are sold just as they are, without recourse. 


Upon failure to comply with the above conditions. the 
money deposited in part payment shall belong to the 
managers as liquidated damages for purchaser’s failure 
to complete the sale. All lots unclaimed within the 
time aforesaid, shall be resold at public or private sale, 
without further notice. 


The undersigned are in no manner connected with the busi- 
ness of the cartage or packing and shipping of pur- 
chases, and although they will afford to purchasers every 
facility for employing careful carriers and packers, they 
will not hold themselves responsible for the acts and 
charges of the parties engaged for such service. 


THE PHILADELPHIA ART GALLERIES 


Some Notes on the Catalogue of Dr. Heysinger’s 
Collection of Pictures. 


The pictures embraced in this catalogue are offered as the SEES 
original ‘works of the artists whose names are attached. 
They are the gathering of more than forty years, known and con- 


; _ firmed by the most eminent artists of Philadelphia, and often of New 


York, with whom it was my good fortune to be closely associated since 
shortly after the close of the War of the Rebellion. Among these 
artists the one I knew best and loved most was the venerable George 
R. Bonfield, who died a dozen years ago, more than ninety years of 
age, under my care, and whose family physician I had been for more 
than thirty years. 

I may say that I learned art under his teachings and guidance, 
although the older artists of Philadelphia (and with them, of New 
York), were at that time more of a guild than they now are, and used 
to meet at each other’s houses, and with them our art collectors, and 
the whole talk was sociability and art. 

I was among the favored few, and through them, and most of all 
Bonfield, I gathered most of my pictures (for good pictures were far 
“more easily obtainable than at present), and gathered also the many 
thousands of prints, mostly of old masters, which now constitute my 
collection. In fact, these old artists all agreed that the best school for 
detecting genuine works of art was among, and by no means of, fine 
collections of prints and the older books and collections of art, and 
these were my study during all the intervening years, and are still. 
Most of my old artist friends are now no more, but their lessons and 
their memories are, to me, as vivid as when we used so often to meet, 
almost weekly or even oftener, with a few chosen friends in an 
atmosphere of art and close friendship. 

The pictures offered in this catalogue are genuine. These pictures 
are not copies; I can, and they could, usually determine a copy from the 
manner of work itself, and from the artist’s handling; besides, as 
these works are usually by eminent artists, whose pictures are known, 
if these, or any of them, are copies, then the originals do not exist. 

For example, the two small pictures by George Inness, Sr., came 
to me in this way: A friend and customer of Bonfield’s went to Paris 
in the fall of 1850, and while there purchased from Mr. Inness these 
two small panels, which the buyer dated in Paris, February 7, 1851. 
Mr. Inness’s son, the eminent artist, George Inness, Jr., wrote me 
a few years ago that his father was married in 1850, and, immediately 
afterward, went to Paris, from which he returned in the summer of 
1852. 


4 


This gentleman, after returning, thought he would prefer a large 
picture of Bonfield’s, and swapped those two smaller panels for a 
large canvas by Bonfield. I purchased them from Mr. Bonfield just 
before his death, as he desired me to have them. 

Then my Rembrandt. It was brought over by an old Belgian, or 
Dutchman, and was the only picture he had, and it was the apple of 
his eye. He was a patient of mine, and he thrice insisted that I 
take the picture, which I refused. He lived in one room, and when — 
I had to send him to the hospital, I agreed to take the picture and 
keep it for his return, which never came to pass. At a glance, it 
looks like a replica of Rembrandt’s “Philosopher in Meditation,” (the ~ 
Vence picture now in the Louvre). But it is quite different on ex- 
amination; it differs in fact in a hundred important features, and is 
a broader, simpler, and better picture. In 1660 Rembrandt painted — 
three pictures, two portraits and a “Philosopher in Meditation.’ This 
latter was in the Bryan catalogue in London (brought from Holland) 
in 1803, where it was described as “The Philosopher in His Study,” 
in glowing terms; but it was not sold. Such a picture is described 
in the Rembrandt list (The Osgood Biography, 1878), as having been, 
at some time, in the Pourtales collection; but it has disappeared, as 
stated, and, but for this, is now unknown. 

The Gian Bellini came from Venice in 1797 at the disruption of 
the Ducal Palace, and since then had remained in the family, near 
the Rappahannock river, until I obtained it years ago; it is signed and 
dated, and with an ancient paper-tag on the back, and is on three 
panels. It is one of the most splendid examples of rich and subdued 
coloring I ever saw; and it has the advantage that it has never been 
retouched or repainted, which is quite the reverse of most of his 
pictures in Europe, as is well known of the few in foreign galleries. 

The Zurbaran came from Europe at the same time, and through 
the same purchaser, and was obtained by me with the Bellini. It 
tells its own story, and is the most splendid Crucifixion J] know cfi— 
purely Spanish—and painted in accordance with the decree of the 
Spanish Inquisition of 1630. The figure is anatomically correct, as 
I know, and looks like a bas-relief of ivory, which was Zurbaran’s 
test. 

The “Conception,” by Murillo, was in the Joseph Bonaparte col- 
lection, at Bordentown. Mr. Bonfield knew the picture well. 

My Both picture also came from the same collection; John Neagle 
bought this picture, at the sale, after Bonaparte’s return. to Europe, 
and Bonfield another, and on the way home they swapped pictures. 
I have Both’s large and splendid etching of this subject, slightly 
changed, as usual by artists. 

The little Bartolozzi oil painting is very beautiful, but its chief 
interest lies in the fact that an oil picture by Bartolozzi is not known. 


5 


He painted this on copper, a plate for one of his own etchings in fact, 
on the smooth back of which he had already squared out the plate for 
an etching; he painted this picture on the plain side, and then wrote 
his name with his etching needle on the partially etched back, in 
his well-known handwriting. Bartolozzi had studied painting under 
_two Florentine artists for some years before he went to England. 

The Titian picture, “Venus and Vulcan at the Forge,” is undeniably 
genuine. His kneeling Cupid is the same boy-model that he used in 
one of his pictures in Naples, which has been engraved by Strange. 

Of nearly all my pictures I have what I call my “Verificators,” 
fascimiles, drawings, engravings, mezzotints, and in fact all such 
evidences of type and feature as will show to any artistic observer 
the genuineness of the picture with which they are contrasted. Many 
of these “verificators’ were given me by my various artist-friends, 
who knew my originals. 

My large and splendid Borgognone (Cortese), undoubtedly the 
finest battle-piece by that artist in America (never retouched even), a 
battle between Turks and Christians under the walls of Vienna, speaks 
for itself. Rugendas had a habit of taking some group out of a 
Borgognone picture and “modernizing it,’ one of these groups he 
took bodily out of the central part of my picture, as anyone can see. 

My picture signed “J. Restout” is the most transparent picture in 
depth that I ever saw. An art-critic here, Mr. Hermann Faber, who 
had studied Rubens with the greatest care before he came to America, 
always insisted that this was painted by Rubens (for it even had 
_ Ruben’s faults, he said), and that a narrow strip of the lower margin 
had been cut off, and that someone afterwards put Restout’s name 
on a bit of the flowing drapery, far up the picture, which artists them- 
selves do not do. In London, the two John Restouts sold (for he was 
a great painter), in the same sale, practically as high as the Rubenses. 

So also, I have Casilear’s large engraving of Huntington’s “Sibyl,” 
which is in this catalogue. It is, I think, far and away the best figure- 
piece by Huntington, who painted it for the Cosmopolitan Art Associa- 
tion and received $500.00 for the work. 

My Joe Kyle is a beautiful picture, far better than that in the 
Metropolitan, and has a historic interest besides. The female figure 
is Mr. Kyle’s own daughter, Mrs. Dallas, and the babe afterwards 
became the celebrated Mary Kyle Dallas. Mr. Kyle (whose early 
history in the backwoods of Kentucky Bonfield never tired of relating), 
gave this picture himself to Mr. Bonfield, in memory of their long and 
close association, after Kyle had gone to New York. 

There is special interest in James Hamilton’s “Serapis and Bon 
Homme Richard.” This was his original, and he never would sell 
it, if he ever showed it, but from it he painted his large replicas. 
When he went to California, where he died soon after, his widow 


6 


brought it back with her, together with many of his drawings, and it 
came into my hands, with other Hamiltoniana, through Mr. Bonfield, 
though I knew Hamilton himself. It, like many original pictures or 
sketches by artists, as Rothermel and Bonfield told me, is better by 
far than any of his larger and later replicas. 

There is a story connected with my Mantegna. It is, in one sense, 
only a remnant; but all the figures and the drawing are there, un- 
tampered with, and most of the rest. It is one of his chiaroscuro wash 
drawings (“heightened with chalk”). 

Among my pictures are a large number by early American artists, 
which the catalogue will enumerate. These are absolutely genuine 
works by the artists named. 

My Jan Steen picture is one of three of the same class, a tavern 
scene, one of which is in the Louvre, one in England, and this one is 
the third and most decent, and also the best of the three, signed on 
the end of the bench. 

Steen was unique in one respect; he made every figure in his 
pictures work, to the combined result of the whole; he did not have 
a lay figure in any of his compositions, in which he stood alone, not 
even excepting Rembrandt. 

My Velvet Breughel is one of the best of that artist. It is on 
panel, cradled. Of an analogous composition, in general type, I have 
Le Bas’s splendid engraving. One glance will identify both as by the 
same artist. 

The Berghem is a fine picture of his usual mountain and plain 
scenery, with sheep, horses, cows, etc., and is quite large, but the little 
battle picture by him is out of the common; his commentators describe 
these little battle pictures of his in the most glowing terms. This one 
is full of fire and character, and anyone can see that it is painted with 
the same palette precisely as is used on the larger landscape above 
referred to. 

My Gainesborough is not only absolutely authentic, but is a splendid 
landscape example of his work. The black and white study for this 
picture is reproduced, altered a little as usual, in Chamberlain’s recent 
English life of the artist. 

This picture has a curious history; it was brought from London 
by “Old Scarlett,” for so many years Curator at our Academy of the 
Fine Arts, when on Chestnut Street. 

Scarlett died, nearly 100 years old, back about 1870, and i ropaute 
Mr. Bonfield was the only close friend of this surly old individual, 
but one who dearly loved art, though he could not paint. He claimed 
that he had helped Gainesborough before his death, by grinding colors, 
etc., in his studio, and that Gainesborough before his death, gave him 
this picture, and a number of his drawings. No one ever was allowed 
to see these except “Bonny,” but when he came to die he turned these 


iy 


things over to Bonfield, from whom I afterwards obtained this picture, 
together with a number of Gainesborough’s large and small drawings, 
* some of which, I still have. To show that Scarlett couldn’t paint, 
_I have put one of his attempts to copy an Adrian Vandevelde, signed 
_ by himself, into this catalogue. 

And I have another item, connected up with Gainesborough. It 
is Barker of Bath’s “Woodman,” which was reproduced in color by 
Bartolozzi, which I had, but was tempted by a large price to let go. 

Gainesborough and Thomas Barker were close friends, and each 
copied, with changes, some of the other’s pictures. Barker painted 
a number of large replicas of his original “Woodman,” and Gaines- 
borough afterwards repeated it, in a measure, in his “Woodman in a 
Storm,” painted shortly before his death, and which was afterwards 
_ destroyed by fire, as narrated by Chamberlain. Now, I have this 
_ original “Woodman” picture of Barker’s, and on the back of the canvas 
is an elaborated lot of scroll-work drawn, the purport of which is 
that Barker painted it, and Gainesborough bought it. “Bought and 
paid for, G.” 

The Krieghoff picture I bought from Krieghoff himself, just be- 
- fore he returned to Canada. 

I do not think that Hughes Merle ever painted a better child 
than that in my picture. 

My N. Diaz (“Clearing of a Storm”) is certainly genuine. My 
friend, Mr. Lindsay, now deceased, who long had it, from me, in 
his galleries, called it “a love of a picture.’ About 1873 or 1874, the 
Associated Artists of France joined, and sent over a consignment of 
Barbizon pictures, contributed by each other, and an unlimited public 
sale was made, first in New York, then in Philadelphia, and afterwards 
in Chicago. Pictures now worth thousands of dollars were sold for 
$40, $50 or $100 each, as they were sent out here to “convert the 
heathen,” which they did, for these were the nest-eggs which hatched 
out nearly $100,000,00c0 of American money, and well worth it, too. It 
awakened art over here. 

My next-door neighbor bought an early Corot for a small sum, 
which after his death was sold to an ex-mayor of Philadelphia for 
$1000. cash. 

This Diaz of mine was in the collection, alongside the Corot, and 
was sold to a man I knew in Germantown, and, on his death, it came 
to me, by a mere chance, and I was glad to see its face again. I am 
perfectly willing to trust this picture to the judgment of intelligent 
connoisseurs. I have seen others of his beautiful pictures sometimes, 
and I understand his method and his work. 

I have also a fine drawing by Rousseau, in color, along the bottom 
of which is a line of his own writing (directions to the engraver), 
besides his signature; and I have also a private etching of his own, 


8 | ‘ 


with a whole chapter of his own penmanship etched in oe himself, 
which is identical with that on the drawing. 

Such a Rousseau drawing sold in New York a few years ago for - 
more than $8oo. . 

My large Diaz (“Spanish Fruits and Flowers’), is not by Marciaea 
Diaz, but by the Spanish Gumersino Diaz, of the same family, in Seville, 
Spain. As usual, I obtained this at private sale. 

And the same is true of the large Van Os; of whose work I have 
a splendid large engraving, excepting that it has more fruits and 
fewer flowers, which, No. 254 (Plate XV), is in this catalogue. 

There is a picture of which I wish to say a word. It is Gilbert 
Stuart Newton’s large picture of the “Trial of Shakespeare for Deer- 
Stealing.” He was the nephew of our Gilbert Stuart, and his pictures 
bring high prices in England. I would never have gotten this splendid 
picture (all portraits), had it not been that the English, in their loyalty 
to Shakespeare, at that time did not want to look at such an episode 
in his career, authentic though it might have been. 

I sometimes wonder if any lover of Napoleon (among whom I am 
one of the most ardent), cares for some Napoleonic material which I 
have, and which probably cost me far more than I could obtain for it, 
for I was then writing a book, from the private letters of that miracle, © 
for which I needed these. 

The first (which is in this catalogue), is a miniature on porcelain 
of Lassalle’s great picture of Napoleon seated in his cabinet, from 
which came the inspiration of the “Grand, gloomy and peculiar, he sat — 
upon the throne, a sceptered hermit, wrapt in the solitude of his own 
originality.” 

It is framed in a heavy gold-plated metal (not gilt) frame, with 
the emblems of the Emperor all around, and surmounted with his 
imperial wreath, and the miniature is padded, within the different layers 
of the frame, to insure safety. There never was any thing finer in 
its way than this 8” x13” golden frame and its contents. | 

There are a few beautiful Dutch pictures by eminent artists seldom 
found here in collections, but well-known to art connoisseurs abroad. 
One is by Peter Coopse (a marine), whose pictures are mostly attrib- 
uted to Backhuysen and sold as such; this one, however, is initialed, 
and is genuine, as the handling shows. 

There is also a Dubbels, of about 1640, whose specialty was shore- 
waters flowing over sands, an artist of high repute. In this line of 
art, says Buchanan (Memoirs of Painting, 1824), “Dubbels has 
proved himself equal, if not superior to every painter of his school 
in the same line.” The picture in the Crawford sale, 1806, was sold 
to Lord Kinnaird for $1260, and old masters were far lower in price 
than they now are. 


9 


There is also a nearly finished dead-color of a magnificent marine 
by Backhuysen. Mr. Bonfield thought much of this dead-color. 

Another is a valuable picture by very eminent Dutch artists, a 
_ panel, cradled, the figures by Bout, as usual, and the beautiful landscape 
_ by Boudewyns. There is also a capital copy of a Ruysdael. 

There is an oil by Calame (French artist), and quite unusual. 
_ There is a little Cuyp (landscape and cow, signed and dated), and 
_ the best picture our own Buchanan Read ever painted, also signed and 
dated (three nude children playing in a group) it was painted at Rome. 

There are five pictures by Alonzo Vasquez, one of the ablest 
Spanish painters, who went to Mexico in 1602, where he remained. 
These pictures, on canvas (the cherub of the group is signed) were 
removed from the walls of the pro-cathedral at Parral in Mexico, by a 
close friend of mine, who was a well-known art-connoisseur and art- 
lover. 

There is also a beautiful female portrait on very heavy copper 
which is a puzzle to me, for it looks much like a Hoppner, but still 
looks Spanish; but Hoppner, a splendid English artist, had the true 
low-country feeling, from whence his parents came. The weight of 
the copper-plate on which this picture was painted is astonishing to me. 

There is also an old Dutch Beerstraetten, a winter-scene, as usual 
with him, in Friesland, with as good a grouping of figures as I ever 
met with, 

There are also three little copies, made in 1857, in the National 
Gallery, directly from the originals, by V. de V. Bonfield; one of 
Turner’s “Burial of Wilkie”; one of his “Snow-storm at Sea’; and the | 
third of his “Approach to Venice”; which the curator said were the 
best copies ever made in that gallery; and there is another copy by him, 
in the same way, after a marine by Vandervelde. These ought to 
interest students of art, as the original Turners have much changed 
since then. 

My Raphael is a genuine picture by that artist; it is a frieze-dado 
like his cartoons in England, the subject being the “Rape of the Sabines” ; 
it contains about fifty figures easily indentifiable (by the style, com- 
position, tone, and the hatchings generally). It is about three feet 
long, was made to be reproduced in tapestry, and shows by its folded 
middle and slightly frayed margins, that it was so used. Benjamin 
West, when he first went abroad, spent a year in Italy, principally 
in his studies of Raphael, and obtained this beautiful work while 
there. He subsequently remounted it, repaired the frayed margins, and 
imprinted on it his incised steel letter stamp, B. W. I obtained it, 
many years ago, from the Benjamin West estate. It embraces more 
than a hundred indentifications with Raphael’s other drawings, and 
has many almost the same from the work called “Raphael’s Bible,’ in 
the Loggie of the Vatican. The artist was employed by the government 


Id 


for some years in making restorations and drawings from the ancient 
remains in Rome, but this is not a copy, but an original work, along 
the same general lines. It is not only most beautiful, but, containing 
so many figures, it is a capital test-study of the artist himself. It is 
quite different from the drawings of Gulio Romano, Penni, and the 
others who worked with and under Raphael. 

There are many American pictures also, all original and genuine, 


which the catalogue will show. With these is the large epic portrait 


of Old Barbara Fritchie (Whittier’s Heroine), painted when 96 years 
old, by an artist in the Army of the Potomac, between the date of the 
Battle of Antietam, September 17th, and the advance on Culpeper, 
October 30, 1862. Though done from home-made materials, it is a 
capital picture from life; it was left behind necessarily when the army 
advanced, and found years afterwards in a cellar in Frederick, Mary- 
land; I purchased it from the colored man who brought it from 
Frederick, and have applied for copyright to protect its genuineness. 
Her photograph, taken years before, shows the same person, but 
younger. 

Among American artists, also, are Inness, Cole, Durand, Cropsey, 
Gignoux, Huntingdon, Shaw, Birch, Hamilton, the two Bonfields, 
Doughty, Kyle, Krieghoff, Craig, Read, Mount and others. 

There are also rare drawings by Rousseau, Daubigny, Angelica 
Kauffman, Guercino, James Hamilton (Arctic scenes from sketches by 
Dr. E. K. Kane), Gainesborough, Girtin (several, and among them 
Girtin’s splendid Naworth Castle, on the Scotch border, near Carlisle, 
the best water-color I ever saw); and of Turner a number, some 
signed and dated, of which one, the end of Lake Cumberland, “J. M. 
W. T. 1820” was one of five from his Liber Studiorum, which were 
never engraved, as he left that job to take up a more profitable work on 
the Rivers of England. 

Girtin was Turner’s fellow-student; he died when only twenty- 
seven years old, and Turner, his devoted friend and companion, said 
of him, in a burst of enthusiasm, that if Girtin had lived, he, Turner, 
would have been forgotten. His few works bring very high prices 
in England. Bryan says that he was the founder of modern English 
water-color, and certainly my drawings by Girtin sustain his reputation. 
He had a little trick or method (like certain rare accidentals in musical 
composition), which enables an expert to pick out, and gloat over, a 
Girtin even at first sight; and I make no discount in favor of Turner, 
of whom I have hundreds of splendid prints, and not a few of his 
capital water-colors. 

And I may say a word of the color-prints after George Morland, 
another of my friends. I have his large Guinea-pigs, and his splendid 
“Boy Watering a Horse,” mezzotinted by his father-in-law, old Ward, 
and a slight sketch by “Johnnie” Woodside, of his (and Ward’s) great 


ht i 


Lt 


picture “Bull-Baiting,’ burned while on exhibition in New York, after 
electrifying Philadelphia. : 

Of old and standard art works and illustrated “galleries” there 
are many; they were my tools to work with; and with these there 
is a collection (slowly gathered) of 10,000 to 15,000 prints of all 
descriptions, many in excellent state and by the greatest artists; among 
them, for example, a dozen or more by Rembrandt; but these are not 
in this*catalogue; they will be offered later; this is a picture, not a 
print sale. 

. I have gone at some length into the above memoranda of a few 

_ of my pictures, because I want it understood that I have not accumulated 
anything but genuine and reliable works. Whatever trash I may have 
gathered in, in my earlier days, I soon, under good advice, and study, 
- got rid of. 

Apology is due for some of the illustrations herein; the negatives 
were destroyed by an explosion, and no time to replace with new 
ones. They will, however, give an idea of the composition of the 
picture. 


x bd * * * * * 


For further data, sizes, periods, names, etc., I refer to the catalogue 
which follows. 


1521 Poplar Street, Philadelphia 
May, 1913 


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Dr. Heysinger’s Catalogue 


First Session Sale 
Tuesday Afternoon, May 27th, at 2.30 o’clock 


1. BONNIE PRINCE CHARLIE. Charles Edward 
Stuart, the young Pretender, in hiding in a hay- 
mow, after Culloden. Signed. Size, 36” x 29”. 
With No. 1, as part of the lot, goes a brilliant 
print, in colors, of a soldier in the Stuart plaid; 
size, 1034" x 11%’. 


2. RAPHAEL. VIRGIN DE SAN SISTO. A full 
size Government photo direct from the original 
in Dresden; it is perfect, and for colors from 
the original has a small photo beneath, colored 
by Webber, a celebrated Dresden colorist. It is 
heavily framed in oak, and was an expensive in- 
vestment on my part. Size of photo, 24” x 36”. 


3. SNOW SCENE. In distemper; a beautiful pic- 
ture, in scarce antique frame. Signed, Pritchard, 
1900, Size, 18" x 24’. 


“iA. HILDEBRANDT, F. T. Two splendid pore colors 
by this eminent artist. Size, 1514” x 11”. Dus- 
seldorf, and the Environs of Bilder. The 
artist was born in Stettin, 1804; died in 1894. 
Signed and dated, Paris, 1875. 


Sey PEL, CHARLES, 1694. DON QUIXOTE 
HUNG UP AT THE TAVERN. This picture 
greatly interested Mr. Cremer, of the Prussian 


14 


Cabinet, who spent. a day with me and saw it 
here. He has the finest private collection in Ger- 
many, and is an admirable gentleman. I have 
Van der Gucht’s engraving of this picture. The 
size of my picture is 25” x 34”. See No. 465. 


6. V.ve V. BONFIELD. An oil painting made many 
years ago of a cottage in the woods near Camden, __ 
N. J. Size, 114%4"” x 7”. Also, im oil; scene on 
the New Jersey coast. Size, 11%” x 84%”. 
These are both capital. 


7. BARKER, OF BATH. THE WOODMAN. This 
is his original picture, from which he painted a 
number of larger ones. This one Gainsborough 
bought from Thomas Barker, and has written his 
receipt in a scroll on the back. Gainsborough 
afterwards, from this suggestion, painted a pic- 
ture of his own, “Woodman in a Storm.” Size, 
2134” x 18”. 


8 BEECHEY. DEAD BIRDS. The best picture of 
little dead birds I know of. There are dozens of — 
them, some with shot marks. Size, 16/4" x 13”. 


9 MERLE,’ HUGHES. HEAD Of Aa aes 
GIRL. Signed and dated. Certainly a beautiful 
child. A like subject by this same capital artist 
sold at a New York auction a few years ago for ~ 
$850. I have had mine for a long time, and 
never tried to sell it. Size, 9” x 10”. 


10. J. RESTOUT (undoubtedly a Rubens). A mytho- 
logical subject, with as transparent and luminous 
figures as I ever saw. My friend, Mr. Hermann 
Faber, says (and he was a close student of Rubens 
before coming to America, as well as a capital 


oO 


No. 10 Mythological Restout (Rubens) 
(27772 S025) 


as) 


artist himself) that it is undeniably a Rubens, as 
_ it has the specific faults of that artist. Restout’s 
works sold in 1803 in London nearly as high in 
price as Rubens’. It is signed on a loose bit of 
garment, and high up, ‘J. Restout,” but an inch 
is missing, I think, from the lower margin, which 
doubtless bore the original signature. Size, 234” 
x 2744". It is a genuine picture, not a copy; 
heavily framed. 


11. BARTOLOZZI. This little oil picture, on copper, 
is undoubtedly by this artist, unknown as such 
things are. Before he came to England he had 

7) Deen 2, student of painting for three years. After 

he left England, in his later life, this little pic- 

ture came out, and it was painted in oil, on the 

back of a laid-out plate for etching, and he wrote 

across it, with his etching needle, “IF. Bartolozzi.” 

It is a wild Portuguese landscape and castle. Size, 
6%" x 5%”. (Oval, framed.) 


12, KRIEGHOFF. SLEDGE IN SNOW-STORM IN 
CANADA. A powerful picture. I bought it 
from the artist himself. Size, 20” x 18”. 


13. ANCIENT ORIGINAL DRAWING. An entabla- 
ture; a spreading ailanthus in the center, and at 
each side an eagle in fierce action. These eagles 
are far superior to anything on our coinage or 
armorial bearings. Was exhibited at the Phila- 
delphia Art Club Exhibition. Framed. Size of 
drawing, 1614” x 6”. 


14. HUNTINGTON, DANIEL. HIS CELEBRATED 
SIBYL. This was painted to order for the Cos- 
mopolitan Art Association, and cost $500. Has 
been engraved by Casilear. Size, 26” x 38”. 


16. 


7; 


20. 


21. 


22. 


16 


RUYSDAEL, JACOB. A beautiful modern copy 
of one of his best landscapes. Size, 12” x 10%. 
(Framed. ) . 


VAN OS. A large landscape with fruits and flow- 
ers. This is a splendid example of this great 
flower and fruit painter's work. Size, 391%” x 
3234". (See Plate XV in No. 254.) 


VAN HUYSUM, JAN. VASE OF FLOWERS: 
A beautiful example of this great flower painter. 


Size; 2114" x 174”. 


BERGHEM, NICHOLAS. Large and wild land- 
scape with figures and. animals. This artist 
stands among the leaders, and this is one of his 
best pictures. Size, 3214” x 25%". 


KYLE, JOSEPH. MOTHER Vani 
This is one of the most attractive family pic- 
tures I ever saw. It was a present to his old 
artist friend in Philadelphia. The babe grew up 
to be Mary Kyle Dallas. Size, 24” x 36”. 


DUBBELS, HENRY. TIDE-WASH OVER . 


SHALLOW SANDS. This was the type of his 
specialty, in which he was inimitable. His pic- 
tures are rarely met with, “VSize;ue. ans 
(Unframed. ) | 


BOTH, JOHN. OLD CASTLE AND LAND- 
SCAPE. From the Joseph Bonaparte Collec- 
tion. Size, 16144” x 2214". 


SNOW-STORM IN THE BLUE RIDGE NORTH 
OF HARPER’S FERRY. From nature. This 
water-color was made by my son, a good while 
ago. It is of interest. Size, 18” x 26”. 


Ce ee a ee ee ee eee ee, ee Ea 


(AQI X Hee) 
yjog uel adeospuey pue apisej plo IZ ‘ON 


17 


. NEWTON, GILBERT STUART. This English 


24. 


Pee. 


206. 
| 27, 


28. 


artist was the nephew of our own Gilbert Stuart. 
It is a picture of “Shakespeare’s Trial for Deer- 
Stealing” and contains many splendid portraits. 
I suppose the subject (then distasteful in Eng- 
land) enabled me to get it at private sale. Size, 
2914" x 1914”. 


ANGELICA KAUFFMAN. Large original wash 
Grrwime, Aurora’ Size, 17” x 13”. 


Woo y, An original and powerful coast scene, 


in strong colors. paizeal 145 x OG. 


SCENE IN THE PyROLKSE ALPS, NEAR 
MUNICH. A beautiful example of color and of 
nature: Signed, J. H. Raser, 1861. Size, 21” 
Reet, 


PORTRAIT OF A GENTLEMAN. Well known 
here, and very strong and artistic. Is framed in 
oval gilt frame. It is an excellent work of art. 
Perit /x 20". 


DOUGHTY, WILLIAM. The English Doughty, 
pupil of Sir Joshua. I have a number of un- 
framed paintings on engravings as a base, signed 
by Doughty, which are very rare, curious and 
valuable. Some have hundreds of figures in them, 
dated from 1750 to 1795, from different coun- 
fee izes, about 12” x 18". A VIEW OF 
LONDON FROM THE NORTH. | Designed by 
Canaleti; painted by “Wm. Doughty, Pxt.,” 
Ws 1Z6, 15. .x Or. 


29. MARINE BATTLE. French and English, 1757. 


This is also painted by William Doughty, con- 
tains portraits of many war vessels, and is a capi- 


18 


tal and vivid picture. As a study of marine 
architecture of that period it is very interesting. 
size, 1144” x 18". (Framed.) “(See No. 63 of 
this Catalogue. ) 


30. EX VOTO. This is a small painting on slate 
smoothed off on one side and gilt; made by the _ 
monks at the cave of Amecameca in Mexico; por- 
trait of Fray Martin, the ‘Apostle of the Indians,” 
who lived and died there in the 16th century. 
These are made by the monks, from Fray Martin’s 
preserved portrait, and sold at the great Indian an- 
nual festival. The birds are sitting all over him 
in the picture. See Janvier’s Mexico. Size, 6” 
RLOre 


31, DOUGHTY, WILLIAM.” BETH 
IN 1751. This is the English Doughty, pupil of — 
and resident with Sir Joshua Reynolds for three 
years, and who then ran away with and married 
Sir Joshua’s housekeeper. It is Doughty’s signed 
painting, on a large engraving as a base, of Beth- 
lehem, Pa., as it was in 1751. Size, 12” x 17”. 4 
It shows the old Crown Inn, where Washington 
stopped when on his way to Boston. A tablet 
now marks the site. 

32. ALMA TADEMA. THE BEY RODMAN 


Colored from the original by the celebrated Eng- . 
lish colorist, Josh. Wilson. Size, 11” x 7”. 


33. Two large Japanese Uprights, painted on silk crepe; 
they are very fine, and of the old, not of the 
modern, Japanese hand-work. Size, 13” x 35”. | 


34. CALAME. A STORM IN THE MOUNTAINS. 
Comparing this with a number of his own litho- 
graphs of analogous subjects, and with the hand- 


, (Az1l X 7191) 
YSsnos1oqsuley ‘soyy, adedspue’y ov ‘ON 


3b 


bar. 


26, 


37- 


38. 


39: 


AO. 


AI. 


+9 


ling as well as the light and shade, I think no one 
could dispute its authenticity. It is splendid in 
color. Size,-12" x 10.” 


CALAME, A. Original lithograph by the artist, 
inserted here with one other to verify the Calame 
oil painting in this collection. Size, 16” x 12”. 


CHINESE PICTURE. A lady of the Imperial 

- Court; a splendid picture, but surface is cross 
cracked, except in the figures. It was a present 
to Matthew Baldwin, founder of the locomotive 
works, while in/China. Size, 17144” x 13%”. 


BIRCH, THOMAS. Two beautiful colored draw- 
ings at Fairmount, on the Schuylkill; made in 
“1808. These are of historic interest. Size, 


vit x 4” : 


; WOODSIDE, J. A. Family Group, Fountain, etc. 


Pen and ink and wash. Size, 8” x 7”. 


DARLEY, F. O. C. Female Portrait, half length, 
eee. 31ze, 7" xO". 


GAINSBOROUGH, THOMAS. A _ Landscape. 
This is directly from the artist himself. “Old 
Scarlett,’ Curator of the old Philadelphia Acad- 
emy of the Fine Arts, brought it over when a 
young man, and got it from Gainsborough him- 
self. Besides, anyone who knows about such 
things knows at sight that it is an original Gains- 
borough. Size, 12%4" x 16134”. 


GAINSBOROUGH, THOMAS. Original draw- 
ing. Hill, trees, figures and animals, and tower 
in the distance. Size, 18” x 13”. 


eS ee gy eet eee ee ee ee Ae ee ee ee, ees ee eee! = en ee ne) Sen ee a ge gee a 
= : Evy ST a ee i 
s = = 


42. 


43. 


44. 


45. 


40. 


47. 


20 


GAINSBOROUGH, THOMAS. Original study; 


a broad expanse, figures, etc. Barker, of Bath, 


was destroyed with a number of my other pic- 
tures in a fire at Thirteenth and Noble Streets, 


made a copy of this in oil, which I had, but which 


\ 


Philadelphia, twelve years ago. Barker marked © 


it as a copy from Gainsborough. Size, 25” x 15”. 


GAINSBOROUGH, THOMAS. Original study; 


rocks, trees, landscapes, figures, etc. Size, 22” — 


pa enaeds 


GAINSBOROUGH, THOMAS, Careful original | 
study of old trees, etc, on blue paper. Size, — 


IO 


GRIGNON, after Gainsborough. A very early | 


etching, trial proof, presented to Gainsborough 


by the etcher, a celebrated artist. See back — 
of plate. This etching contains the “wheel- | 
plough” which Gainsborough often introduced in 
his early pictures. One of these is shown in his ~ 
small oil painting in this collection. No. 147 of — 


this catalogue... Size, 15%" xe 


GAINSBOROUGH, THOMAS. Original drawing. — 
Landscape with water, woods and cows. Size, 


TO" xT! 


GAINSBOROUGH, THOMAS. Large original ~ 
drawing by this great artist. Wooded and rocky ~ 
landscape; on blue, tinted paper. Size, 24” x 18”. q 
These and the following numbers were brought ~ 


over from Gainsborough’s studio, by old Sam 


Scarlett, who never showed them. Mr. Bonfield — 


got them after Scarlett’s death, and I obtained 


them from the family after Mr. Bonfield’s death. 


sei bia hia maciamaeies ji taatiaihac alias: siti iniieaniiiana Ae peices in sei maton ~ ee 
“. we Fin lie ar ie. bala as ies Fg ri bs S oe a. = , 
Stoel , 0 ere: ea aay a - a NT lie Re ed . as 
aap er Oe ae ae spac elf SRT eee Oa a i ek eee oy St ee 7 
o pats ’ hp a et Pao “> a % a Oe a ta | 
4 = * wat > eS e <0 mt 
2 <a, = + <P = Me 4, = Z 
* Fe oe. hier ia i 


PE See 2 aan 


ca Aas Ren STE 


ess 


50. 


ar. 


52. 


53: 


21 


WELLS AND LAPORTE, 1805. After Gains- 
borough. This is an uncolored etching on tinted 
paper. The yoke on the horse’s back is also shown 
in Gainsborough’s smaller oil painting in this col- 
lectiom, No, 147. Size, 11” x 8”. 


LAPORTE, J. After Gainsborough. This is also 


colored by the etcher, who was a celebrated water- 
color artist. It is a soft-ground etching, and is 
very rare and, in England, valuable. These etch- 
ings were also brought over by “Old Scarlett.” 
Size, 1014” x 8”. 

WELLS. W. F., 1803. After Thomas Gainsborough. 
This has the value of a painting; it is carefully 
colored by the artist, who was a very celebrated 
etcher, associated with J. Laporte. These were 
the founders of the British Water-color Society. 
This etching is a close resemblance to Gainsbor- 
ough’s large oil picture in this collection, No. 40. 
Size of etching, 1014” x 8”. 

WELLS, W. F. After Gainsborough. This soft 
ground etching illustrates the larger Gainsborough 
oil painting in this collection, in the man with his 
stick, etc., No. 40 of this catalogue. It is a beauti- 
ful work. Size 1014” x 814”. 


GAINSBOROUGH. Three fine engravings aiter 
this artist. Introduced for comparison. The boy 
in the cottager picture is little Jack Hill, referred to 
in Chamberlain’s recent Biography of Gainsbor- 
ough. Could this little fellow have been “Old 
Scarlett?’ Various sizes. 

THE FIRST PRAYER IN CONGRESS, 1774. 
Fine engraving by Sadd; on stretcher and canvas. 
Size, 25” x 19”. 


54. 


55: 


56. 


57: 


22 


WASHINGTON AT THE BATTLE OF TREN- 
TON. BY TRUMBULL. The large engraving. 
Original picture in Yale University. In gilt frame. 
SIZE) 34 xa 


BONFIELD, GEORGE R. SCENE ON THE 
WISSAHICKON (now in the park), painted 
more than forty years ago. This oil painting is one 
of the finest examples of art I know of. Its tone 
and transparency are astonishing. Size, 13” xg’; 
mounted and in panel. 


PRESIDENT WASHINGTON DELIVERING 
HIS INAUGURAL. From Matheson’s picture. 
Large engraving by Sadd on stretcher and canvas. 
Size, 20° x25. 


DEFREGGER, FRANZ. This was a curious artist, 
a poor peasant with a hard father, who started out — 
modeling his pictures on a shingle with his 
mother’s dough, and coloring them with earths 
and plant juices. He was born in the depths of 
the Austrian Tyrol. Discovered by a Viennese 
artist, and taken thence, he developed into the 


greatest artist of Austria, and was ennobled by the — 


Emperor. These are weird Tyrolese war scenes 
against the French. There are two of these, 
now scarce. Size, 1044” x 8%”. 


TROYON. A large original reproduction, (from 
Paris) of Troyon’s “Valley of Toucques,” proba- 
bly his best picture. Size, 16” x 20”. (Framed.) 


Two splendid aquatints, to compare with Pironesi’s 
work of old Roman palaces, ruined, and used for 
prisons in later times. These are probably unique. 
mize, 16% .% 12 "a2 Cee ING Saas 


23 


HOLY FAMILY. A very curious, clipped with 
scissors paper picture, framed; made in Italy in 
intaglio, by the Countess Victoria Pila (see back). — 
A wonderful performance. About a foot in size. 
I never saw anything in its way to equal this. Size, 

Pog x 814", 


61. KAUFFMAN, ANGELICA. Color-print, by Bar- 
tolozzi. ‘Paris and Oenone.” ‘This is a genuine 
color-print, no longer made in art, as these are 
artists’ paintings in facsimile on a line-etched plate; 
must be made by an artist equal to the original, 
and only one can be produced in a day. These 
are very expensive, and scarce. On the back are 
written biographies of Angelica Kauffman and 
Bartolozzi. Size,9i4” x 714”. (Framed.) 


62. MOOSE-ANTLER TABLE. This is really a stand 
a yard high, perhaps, made up of moose-antlers. 
It was made long ago in Northern Maine or 
Canada by the hunters themselves, but very well 
made. A moose picture is hung to it for identifica- 
tion, and a splendid elk portrait, 62b, framed, goes 
with it as part of the lot. 


63. THE BATTLE OF MINDEN. A large engraving 
richly colored by a good artist. This battle was 
fought August 1, 1759, between the French and 
the allied army of England and Hanover. It re- 
sulted in a disastrous defeat of the French. Com- 
paring this great land battle with the great naval 
battle, between the same enemies, and in the same 
year, 1759, (see No. 29 of this catalogue) will 
show clearly the practice of war in those days, 
more than 150 years ago in Europe. Size, 18” x 


” 


Biziey 


s 


64. 


65. 


66. 


67. 


68. 


24 


Two large original photographs, 24” x 11”, of the 
Walpurgis Night Scenes of Gothe’s “Faust’’; de- 
signed by Chifflart. Full of figures and inde- 
scribably weird. Size, 21” x 10”. Framed. 


TOLSTOY, LEO. Autograph letter and auto- 
graphed envelope to myself, framed. Tolstoy 
hardly ever wrote his own letters, usually leaving 
that to his wife or daughters. This one, to me, 
is in his own bold writing, and ought to be of 
value to: collector.." Size; ¥2 ae 


VERNET, JOSEPH. A capital copy (it cannot be 
an original) of Joseph Vernet’s SHIPWRECK. 
It is old and brilliant, and is framed. Size, 12” ~ 
a A tele 


LARGE JAPANESE TRAY. This is ancient, and 
was brought personally from Japan by Professor 
Somerville, and was in his collection. The metal, 
sheet metal, rimmed, was obtained from the Dutch, 
before they were shut out from Japan, but the 
decoration, in pure gold, and laid on upon other 
colors, is indescribably beautiful. It measures two 
by three feet in size. 


GEORGE MORLAND AND WILLIAM WARD. 
This splendid mezzotint of Morland’s “Boy water- 
ing his horse,” by “Old Ward,” Morland’s father- 
in-law, is inimitable. Artist’s proof. Size 15” x 
1244”; mounted in panel and framed. 


PORTRAIT, on Heavy Copper. Size, 20” x 15”. 
This looks to be Northern Spanish of a hundred 
or more years ago, and yet it reminds me of the 
English Hoppner, whose folks came from over 


near there. It is certainly a wonderful picture of a 
lady, etc., and the copper plate must weigh several 
i pounds. It is beautiful. 
} 7o. DIAZ, GUMERSINO. Seville, 1857. This is the 
es Spanish Diaz, but of the same family as Narcisse, 
} the French. When the latter were expelled from 
Spain, this branch remained. This is a large and 
splendid picture and landscape of purely Spanish 
fruits and flowers. It has a wide scope and view 
tam ine eardens Of Seville, Size, 33” x 51”. 


ieee UZ ALONZO. .Spanish. Date of birth 
uncertain; was, employed on a magnificent royal 
work, in Spain, in 1598. A very celebrated painter 
and was employed as Royal painter by the king. 
Bryan says that few of his pictures exist. That 
is explained by a statement in “Janvier’s Mexican 
Guide,” page 148. With other eminent Spanish 
artists, among them Arteaga, Vasquez went to 
Mexico about 1600, and pursued his art there, 
never returning to Spain. This picture, “Head of 
Christ” is a splendid work. Size, 12” x 14”. It 
and five others in this sale, on canvas, were strip- 
ped from the walls of the half-ruined pro-cathedral 
of Parral, Mexico, since partly restored. I ob- 
tained them from my friend, who did it, in 1882. 


72. VASQUEZ, ALONZO. Two caryatides (cherubs) 
supporting an entablature. On the wall of the 
church Jesus (see No. 71) was between. These 
are very beautiful. All these six Vasquez pictures 
are on canvas, and all came from the wall opposite 
the altar of the pro-cathedral of Parral, in 1882. 
The pro-cathedral, with reviving prosperity in 
Parral, has since been restored, in part at least. 
Pere Eth wk 2 Ts 


26 


73. VASQUEZ, ALONZO. About 1650. Half length — 
of “S. Matheo,” with an angel dictating over his 
shoulder. The colors in all these wall-pictures 
are wonderful in their deep tones. Size, 134%” x 
oo 


74. VASQUEZ, ALONZO. A picture of “S. Marco,” 
1650, writing with a pen (perhaps his gospel). 
The way the pen is held illustrates the Mexican 
and aboriginal method at that date. Size, 13%” x 
2114”. All these six are painted on the same red- 
earth base as the “Murillo” and the “Crucifixion” 
by Zurbaran (see No. 84, and No. 189). 


75. VASQUEZ, ALONZO. A Cherub, from the same 
group as the head of Christ, from the Pro-cathe- 
dral of Parral, Mexico. It is most beautiful, and, — 
on the wall, was shown adoring Christ. Size, 
10” x 12”. This one of the group is signed by 
the Artist. 

It seems to me that these six Vasquez pictures 
ought to be better known. This cherub has the 
signature of Alonzo Vasquez. The pro-cathedral 
dates from that period; the main cathedral was at 
Durango. All six are clearly shown to be by the 
same artist. 


76. MANTEGNA, ANDREA. Born 1431, died 1505. 
THE HOLY FAMILY. This is painted im tem- 
pera. (See Morelli’s Italian Masters in German 
Galleries, p. 392.) The margins have scaled in 
places, but the picture is in good order, and has 
never been retouched. It is a wonderful picture. 
I do not know how I ever got it, it was so long 
ago; I think it was a present from an eminent 
artist-friend. I have seen connoiseurs get down 


ourqin Iq (YOI X ze) 
o1zuesg joeydey soulqeg 9} jo odey 94 ‘ON 


t 4 iets, & a ; 
un F . i ' 


27 


on their knees to study this splendid work. I 
have never dared to touch the work, even to repair 
the scaled margins. Size, 29” x 22”. 


77, GUERCINO. A splendid original drawing (Polix- | 
ena) in bistre. Size, 16” x 10%4”. It is wonder- 
ful for strength and effect, containing many 
figures. Owner has had it for many years. 
Bought privately. See No. 100. 


78. RAPHAEL, SANZIO DI URBINO. A frieze- 
Mad0ne piz6, 1014" .x 32" long. THE RAPE 
OF THE SABINES. This has been used, as the 
marks show, by tapestry workers. It contains 
about fifty figures, and is corroborated by its 
perfect style, that of Raphael’s cartoons, and its 
history. It was obtained in Rome by Benjamin 
West, and has his incised steel stamp. Benjamin 
West repaired the slightly frayed margins, and 
mounted it. It is a genuine work by Raphael. It 
was purchased long ago by the present owner 
from the West heirs. (See No. 288.) Framed. 


70. BORGOGNONE, JACOPO CORTESE. Italian, 
1660. A large and splendid cavalry battle, Turks 
and Christians. In perfect condition, never re- 
touched or restored. One of the finest pictures 
by this most celebrated battle-painter. Owner 
obtained it, 35 years ago, at private sale, from 
the gentleman who brought it from Europe. It 
hung in his own parlor for many years. Size, 56” 
STAG. 


80. INNESS, GEORGE. A small landscape bought 
from the artist himself in Paris, in February, 1851, 
where the artist then was, having recently been 


28 


married. It is exceedingly beautiful, and affords 
a rare study of this great artist’s development. 
Size, 10% 14"... (See Nou kooems 


81. DANBY, FRANCIS. “BURIAL OF A HIGH- 
LAND CHIEF.” I will not assert positively that 
this is not a copy, for I do not know where the 
original is. It lies between Danby and Northcote. 
I have a large wood-cut from this picture, labeled 
as by Danby. Some one said that Northcote 
made a copy. It is certainly a weird and sur- 
prising, as well as a most excellent, work. Size, 
BAO 


82. TITIAN, VECELLI. VENUS Aoi 
: on canvas. In splendid condition. Owner has 
had it for 35 years. Never was sold at auction. 
It is an original; was brought direct from Venice. 
The artist was born in 1477, died 1576; and was 

a pupil of Gian Bellini. Size, 28” x 24”. 


83. PIRANESI. Two magnificent drawings in gummed 
body colors; one is the Ruins of Castel Acqua 
Giulia; the other similar in type, but different. 
Size, 11” x 17”, Date from 1760, (see Nouco 
of this catalogue.) Owner obtained them from 
the Huffnagle collection, many years ago. On the 
back of No. 83 is a print by Joseph Pennell, N. 
A., of a similar sort of Piranesi. 


84. ZURBARAN, FRANCISCO. Spanish THE 
CRUCIFIXION; a noble picture, in perfect con- 
dition. Size, 29” high x 25” wide. Was obtained 
from the same estate as the Gian Bellini, No. 126. 
The form is like a bas-relief in ivory. It has the 
Spanish brown earth-base on the canvas, only used 
in Spain. (See No. 189 of this catologue. ) 


No. 84 i Crucifixion Zurbaran 


(20-25) 


29 


85. PROUT, S. Original drawing in black and white, 
Marine. Size, 1014” x 834”. 


mo. CASILEAR. Two beautiful water colors, with 
: figures and scenes. Size, 9” x 6”; made for the 
U.S. Government, for bank-printing. 


Sig or BIE DV. DE. V. Water color, snow, with 
brilliant sky. Size, 744” x 414”. Also fine sepia 
coast scense. Size, 1014” x 6”. 


88. FRAGONARD, SAINT NON. One of the Abbe 
Saint Non’s beautiful and rare works, in aquatint, 
in imitation of wash-drawings; of a wild shep- 
herd scene of Fragonard’s. Size, 18” x 13” (Un- 
framed). 


89. FRAGONARD, AND SAINT NON, 1764. I am 
not offering prints in this collection, but these two 
splendid facsimiles of Fragonard’s, a couple of 
whose works sold in America for half,a million 

dollars, and the character and great rarity of 
good examples by Richard (the great amateur 
artist), the Abbe Saint Non, who never worked 
for the public, take them out of the class of en- 
gravings. They are splendid aquatints, in his 
own inimitable way, and are fascimiles of Fragon- 
ard’s, Size, 16” x 13”. Hundreds of figures. 


go. GIRTIN, THOMAS. Original drawing in black 
chalk, heightened. I have with it a print in cor- 
roboration, of an analogous subject. Size, 10” x 


614". 


91. GIRTIN, THOMAS. “What’s That!’  Color- 
print by H. Dawe. This is a splendid genuine 
color-print, mounted, in a mat, by a celebrated 


— = ae Url lh --_ <-> oe 7 - > 


92. 


93- 


94. 


95: 


96. 


97: 


98. 


99. 


4 


30 


painter and mezzotinter, a member of the Society 
of British Artists. Size of color-print, 74x 
534". ; 

GIRTIN, THOMAS. An original drawing in black 
chalk, wooded landscape and houses, seen through 
a vista. Size, 10" x 744". 


READ, T. BUCHANAN. Two large full length 
figures in crayon. Size, 10” x 12”. 


DARLEY, F. O. C. Drawing, barrel of oysters, 
figures, and shipping in the distance. Size, 6” x 
54 - 

BOTH, JOHN. Large original drawing in wash 


and bistre. Landscape and figures. Size, 21” 
le 


READ, T. BUCHANAN. Seated female figure. 
SIZG 08 Sato 


KING LEAR. A powerful stage drawing. King 
Lear in fierce action. Oval. Size, 6%” x 5%”. 
Signed, “JOHN R. JOHNSTON. From life.” 


SIR PETER LELY. Striking wash-portrait in 
brown, signed, P. LELY. Size, 94” x 734”. 


TURNER, J. M. W. Another of his water-colors 
(much like his “Cumberland,” No. 140), and I 
have several smaller ones by Turner. One of 
these (No. 99) connoisseurs all claim to be a Tur- 
ner. But connoisseurs will readily estimate them, 
and for others, what I might say would not be of 
any use. These drawings have brought high prices 
and are very fine. I am satisfied that this is a 
Turner, but cannot prove it except by the handling. 
See note written on the picture, No. 99. 


ae > =e 
Se ee ee 


31 


GUERCINO. A magnificent drawing in bistre, with 
many figures, the “WIFE OF SPITAMENES.” 
Size, 17” x 10%". This, and No. 77, are astonish- 
ing drawings. 


JAPANESE ANCIENT IMPERIAL LETTER 
TABLET (for sending official orders), and case, 
lacquered and gilt, and inlaid with figures in 
mother of pearl, gold, etc. Size, 16” x 25”. This 
is from the old shogun days. 


WILSON, RICHARD. Original sepia drawing, 
signed, 1785. Size, 542” x 8%”. Landscape and 
bridge. | | 


Poor PEAS DER °Marine, i12” x 10”. 
GEORGE R. BONFIELD. This is the original 
from which Bonfield painted his large picture for 
which he was paid $250. He always claimed, and 
I agreed with him, that this was the better picture 

— of the two. 


REMBRANDT. His rare and beautiful etching of 
“Christ Preaching to the People.” First state of 
the plate, very brilliant. Size, 814” x 7%”, 1654. 
(See the Osgood Life of Rembrandt, page 157.) 


HEENAN AND SAYERS. A burnt-wood picture, 
made on the spot, with portraits, of the celebrated 
prize fight in England, in April, 1860. Size, 8” x 


g”. Framed and glazed. 


AURORA. A large color reproduction of GUIDO’S 
“Aurora.” The best I have seen. Size, 20” x 30”. 
The original is on the ceiling, in a circle; this is 
the same extended. 


ee « 


= 


eg eee Ae 


32 


107. COROT. A wooded landscape; probably a copy, 
but, if so, a capital one. Size, 14” x 20”. Ihave © 


had it many years. 


108. BONFIELD, GEORGE Ro] Ae ee fe 4 
SHIP; from Coleridge’s Ancient Mariner; a — 
weird and a very powerful picture. Size, 14” x 
20". The skeleton phantom ship is bearing down 9 


on the other craft. 


109. INNESS, GEORGE, Senior. A beautiful land- — 
scape, with cottage and girl, bought, and brought, 
from Mr. Inness, 1851, then in Paris on his honey- 
moon tour, as his son, the eminent and still living 
artist wrote me. The date of purchase is on back | 
of the panel. Size, 10" x 8”. See No. 80 of this ~ 
catalogue. It is a picture of transition, and is 4 
extremely interesting, as well as beautiful. The — 
tones and handling are all Inness’s. | 


110. GOYEN, VAN. A large and splendid landscape, — 
water, old mill, boats, etc. Size, 27” x 207) [am 
have numbers of verificators. 


t11.. MINERVA. An old hand-raise plaque, on sheet ; 
metal, framed in gilt and velvet. Size, 11" x 4 
11%2”. Curious at all events. 


112. VASE, GIORGIO. This is a genuine Maestro — 
Giorgio original. Earliest majolica, dating from 
1500, with his monogram on the bottom. It is of 
the old Spanish-Moorish meerschaum, and will 
float in water. The middle is covered with Mos- 
lem incised work; from Majorca; and was finished 
and colored by Giorgio, in Italy. Probably the 
earliest example of decorated majolica known. 
Size, 11%4” tall x 534” largest diameter. (See 
illustration. ) 


Primitive Majolica Vase 
Maestro Giorgio, 1500 
(Height, 11%, Diameter, 5%) 


33 


113. ACHENBACH, ANDREAS. Dismasted ship in a 
terrific storm at sea. This picture is entirely the 
work of this artist; no one else touched it. It is 

_ signed “A. Achenbach, ’62.”” He was a very cele- 
brated artist, born at Hesse-Cassel in 1815; 
Knight of the Order of Leopold; Member of the 
Academies: of Berlin, Amsterdam and Antwerp; 
Chevalier of the Legion of Honor; medals from 
Prussia, Belgium and Philadelphia.. He was a 
great traveler by sea and land, and of world-wide 
reputation. This picture is simply tremendous. 
mize, 24742" x 17”.. Framed. 


_ 


—— 


iss 
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114. VERNET, JOSEPH. A splendid, large color-print 
(see No. 61) of a shipwreck on a rocky shore, 
ae. with a boat striving to land a few passengers. It 
kz has the soft and searching tone of all good color- 
prints. The picture is described in Seguier’s Dic- 
tionary of Paintings. Size, 24144" x .17”. 


ee ee Reso; 32 


115. ALHAMBRA. This is a section, made in hard 
‘material (looks like the marble itself, but it can- 
not be), of a panel of the Alhambra, with the 

| most intricate and remarkable sculpture (cut 

ie square down) I have ever seen. It is very heavy, 

: is framed, and was brought from France. Size, 

8” high x 25” long. 


} 116. HAMILTON, JAMES. STORM OVER THE 

~~ DELAWARE WATER GAP. This is a splen- 

did picture, one I have never tired of. I am quite 

familiar with such scenes at the Water Gap. I 

knew Hamilton, and an eminent artist once told 

~ me that Inness and Hamilton were the two artists 
here of the greatest real and original genius. 


117. 


I19Q. 


I20. 


I21. 


122. 


123. 


ANCIENT TAPESTRIES, Two, King and Queen, 


34 


with metallic embroidery. These are very re- — 
markable works of art. (I have also, with them, | 
which goes with this lot for information, an an-— 
cient Chinese tapestry, with the same metal em- 
broidery.) Size of..each, (2050127 seeeizea 
Chinese tapestry, 14” x 20”. . 


CHINESE PLAQUES. These four are very heavy ~ q 


vy. 


and very ancient. It is impossible to describe them ; 
they must be seen to be understood. They are 
described by Williams in his “Middle Kingdom.” 
They were made in the white in Chinese Tartary, 
and finished in color in Central China. That. was 
long ago. Circular, 11%”. 


. DE V. BONFIELD. Three fine coast scenes, in 


oil, Sizes, 13°°X O"s 1347 xi Oe ee 


_DE V. BONFIELD. Oil painting from Nature 


of Cooper’s Point, dating from 1867. Size, 13” 
x 9”. This, now in Camden, N. J.) isa fine pic 
ture of historic interest. 


DE V. BONFIELD. Three oil paintings, dating 
back sixty years, of scenes in the White Moun- 
tains: Willey Valley, Mount Washington, and 
another Size. 13. soe 


HAMILTON, JAMES. The oneinal plenreaane 


Serapis and Bon Homme Richard, from which he' — 


painted a number of larger ones. This is far 
superior to any of his larger replicas. It is alive 
with fire. Hamilton never would sell it; I ob 
tained it after his death, in California, from his 
widow. Size, 24” x 1444”. 


ITSr “lupe Weld) 


Qa ee See a See 


deIUOWIC 94} WoOIJ nO BSurljsed 


Qcl “ON 


35 


_ 124. BIRDS, INSECTS AND FOLIAGE. A rare and 
fe ancient drawing in body-colors, on heavy parch- 
ment, many hundreds of years old, and brilliant 
and accurate. Size, 11” x 744”. 


125. THE BULL-BAITING. MORLAND and WARD. 
| This great but ferocious painting was exhibited, 
by itself, in Philadelphia, admittance 25 cents. 
After a month in the museum here it was taken 
to New York, and before it was even first exhib- 
ited there was destroyed by fire. While here, John 
Woodside made this slight but accurate pencil 
copy from it, which, I think, is the only copy ever 
made. It is in this catalogue merely to give an 
idea of a lost picture by great artists. It is cer- 
tainly strong and vivid, and shows what the pic- 
ture must have been. Size, 9” x 10%”. 


gk GIAN BELLINI. A. D. 1422-1516. On three 
panels, joined; was never restored; one of the 
only ones of his which was not. Owner obtained 
it from an old estate on the Rappahannock (see 
No. 84); it was brought from the Ducal Palace 
of Venice in 1797, when it was sacked. “CAST- 
ING OUT THE DEMONIAC.” The apostles 
are all portraits of contemporaries. The little red 
devils crawling out of the Demoniac’s arm are 
very curious. Signed and dated 1511. Size, 
2814" x 21”. The swine are very characteristic; 
I have a facsimile print from Titian (Bellini’s 
pupil), with precisely the same “razor-backs.” I 
have many verifications of this picture. 


127. BREUGHEL, VELVET. FAIR-SCENE NEAR 
| ~ A CITY. A large and splendid picture, on panel, 
cradled. In excellent condition. I have a Le Bas 


36 


engraving of a nearly parallel picture of Breugh- 
el’s. No one can dispute the genuineness of this 
picttire, .Size; a4" x 177, 


128. COOPSE, PETER. (A.D. 1640.) This old Dutch @ 
painter of marines is not well known, because — 
most of his pictures have been sold under the name 
of Backhuysen, with whom he was contemporary. 


This marine is on panel, and is signed P. C. Size, 
1OteXeLISa 


129. LANDSCAPE FROM NATURE. Near Mystic, 
Conn. It is a sketch made on straw-board, prob- 
ably bought from some storekeeper near-by. It 
was brought from Mystic by an old clergyman 
who came here. It is a splendid out-door work, 
the tones almost like mosaics when closely exam- 


ined. It suggests Davis’s Brook, at the Academy, — j 


but I have not inquired] = sizemmaa. soe 
(framed). 


130. VAN DE VELDE, WILLIAM. Marine. This is 
a copy which was made directly from the picture 
in the National Gallery, London, in 1857, by V. 
de V. Bonfield, and is a capital work. Size, 12” 
Rat 

131. VERNET, JOSEPH. A drawing in distemper of 
a shore scene in his own inimitable way. It is 
well worth looking into. Size, 18” x 23”. 


132. ABATE, A. J. Landscape in sepia and wash, across 
a TIVELY OIZe ace? 


133. SIR JOSHUA REYNOLDS. Colored print by J. 
: Rogers, of female figure in a landscape. Size, 
ake x 6, 


Jasneig JAI A 


(41 x %bz) 
AVI jO suolAUq ul 9u299—rTeY 


S74 


P 34. DA VINCI, LEONARDO. Facsimile by Hollar of 

. two grotesque faces. Leonardo was fond of this 
work, and followed up such queer folk to catch 
their faces. See his published biography, No. 387 . 
of this catalogue. Size, 414” x 3”. 


saree = ee 
Sen ae a ee eee fe at = rans = 
. a ‘ 3 oe ae 
- . 
‘ee ’ 


135. BUSBY, J. L. 1820. Two old English colored 
prints. A Lobster Catcher; and a Shoe-black. 
ol UNO ala 0 Me 


I pace: REMBRANDT, VAN RYN. “THE PHILOS- 
Oreaek IN HIS STUDY.” This is the title 
of the picture when Mr. Bryan brought it from 
Holland in 1795. I want to have something to 
say about this little picture. No one has disputed 
4 its genuineness, and if they had, I know more 
about the matter than any of them. But all have 
admired it. For this I never paid a cent in money, 
but I am a doctor, as most folks know, and many 
years ago I saw an old and very poor Belgian, 
i who lived in one room, and I attended him for 
ie years gratuitously, as I usually do in such cases, 
, and finally I found a place where he could be 
' better cared for than in his one room. 
ea On his wall he had hung just one little pic- 
: ture, this Rembrandt, and he said, “Doctor, I 
want you to have this;’ but I said, “No, it is 
, your one treasure and your one link.” But at 
b last, when I found a place for him, and he again 
é said it, I replied: “I will do this; you have no 
| ; place for it, and I will take and keep it in trust 
‘- for you, and you can have it again.” He said 
(he was past eighty), “That will never be.” And 
it never was. 

Of course I gave him years of my best; I 
have always tried to do that; but I would rather 


rise 


38 


have handed the picture back, but, as he said, 
“That will never be,’ and it never was. Now, 
that is my story. 

In the “Rembrandt” of Casone & Co., 1878, 
on page 127, it is stated: “The works of 1660 
were all of a portrait character, and included a 
‘St. Francis,’ a ‘Philosopher in Meditation’ and q 
an aged woman,” etc. 4 

The Louvre picture dates from 1633. It was 
part of the Count Vence collection, and was bought 
for the Louvre in 1784. Now, Bryan went to Hol- 
land about 1790, to pick up what he could, and in 
his London catalogue of 1798 (on page 290 of 
Buchanan’s Memoirs, Vol. I) he describes this in 
the most glowing terms. But it was not sold, as 
noted. Now this picture turns up again in the 
Osgood Biography of Rembrandt, on page 155, 
as among former collections of Rembrandt paint- 
ings, now not assignable, as “a philosopher for- 
merly in the Pourtales collection.” 

My Rembrandt is signed in lower left-hand 
corner, has no woman on the stairs, and the — q 
philosopher is entirely different, taller, has no cap, _ 
is not a Jew, and the plan of the whole is broader 
and finer than in the Louvre picture. I have 
counted a hundred differences, and noted them in 
red ink. This is a far better picture. On canvas 
(as his later pictures usually were). Size, 127%” 
x 1014", 

137. REMBRANDT, VAN RYN (after). The very rare, 
large engraving, on copper, by Ludovico Surrugue, 
1754, of Rembrandt’s “Le Philosophe en Contem- 
plation,”’ at that time in the collection of Count | — 
Vence, Field-Marshal of the King. It was ac- 
quired by the Louvre, in Paris, in 1784, long 


“a 


_ }puriquioy 


(YO X 871) 


Apnig st ul 


raydosopiyd e4L 


oe 


before Mr. Bryan came upon his picture (No. 
136) in Holland. The engraving, as usual, is 
reversed. Size, 11%” x 1014". 


TURNER, J. M. W. An early drawing, made to 


order, for illustrating an English country-seat and 
Paiascape, oize,.11 x7. 


DIAZ, NARCISSE. This picture will speak for 


itself. “CLEARING OF A STORM.” I know 
the history of this picture. It was one of the 
French pictures sent over by the associated artists 
of France, about 1873, to be sold without limit, 
and which opened the way in this country for 
$70,000,000 for French art! A friend of mine 
bought an early Corot there, alongside this Diaz, 
for $60, which after his death was sold for $1,000. 
Size; O° x 634”. 


TURNER, J. M. W. A water-color of the entrance 


to Lake Cumberland. Signed “J. M. W. T. 1820.” 
See No. 99. 

This was one of five from the Liber Studi- 
orum never engraved, as he was drifted off into 
the “Rivers of England,’ which were more prof- 
itable. See his biography and list of works. Size, 


9” x 6%.” 


THOMAS GIRTIN. His celebrated Watercolor of 


Naworth Castle. The finest water-color I ever 
saw. Size, 15” x 844”. Turner said that 1f Gir- 
tin had lived he himself would have been forgot- 
ten. Girtin was the creator of modern English 
water-color; see Bryan and Redgrave. 

Naworth Castle, 12 miles N. E. of Carlisle, 
is in Cumberland. It is fully described in Joel 
Cook’s “England,” page 68. I have, for corrobo- 
ration, two prints of this castle. Size, 14” x 8%”. 


40 


142, GIRTIN, THOMAS. Beautiful water-color of Chel- 
sea, on the Thames, size 8” x 5”. I have several 
corroborations and verifications of this work. 
This and the Naworth Castle are two of Girtin’s 
best works, and his original drawings (he only 
worked in water-color during his short life) bring 
very high prices and are exceedingly scarce. Size, 


73/4". x sees 


143. HURST, the author of Endymion. A very rough 
sketch, by this singular Philadelphian, may have 
historic interest. He lived about seventy-five 
years. ago. Sizes 2st 


144. TURNER, J. M. W. APPROACH TO VENICE. 
This is a small copy, made directly from the 
original picture by V. de V. Bonfield, about 1857. 
These three copies, Nos. 144, 145 and 146, pre- 
serve Turner’s tone and color better by far than 
the originals do now. They are, besides, capital 
works of art, full of breadth and handling. Size, 


TIsg Ro 7 s4y, 


145. TURNER, J. M. W. SNOW-STORM AT SEA. 
This is a small copy made also in 1857 by V. de V. 
Bonfield directly from the picture. Turner’s origi- | 
nals have changed color since then, but these copies 
have not, as other pigments were used. Size, 514” 
x Ole". 


146. TURNER, J. M. W. THE BURIAL OF WIL- 
KIE. This is a copy made by V. de V. Bonfield, 
in 1857, directly from the picture. Of this and 
two others he then made, the Curator of the Na- 
tional Gallery told him they were the best copies 
ever made there.. Size, 514° x15 


(“AS xX V1) 
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q 41 
} 147. GAINSBOROUGH, THOMAS. Early Landscape, 
ie with figures, and with the well-known wheel-plow 
of his early work (see Nos. 45 and 48). This 
picture is certainly by Gainsborough’s own hand; 
if it is not, then the original does not exist. It 
is powerfully done, with Gainsborough’s own 
handling and impasto. Size, 12” x 20”. 


es 148. MIDDIMAN, S. AFTER GAINSBOROUGH. 

: This fine line engraving, by a celebrated engraver, 
also illustrates the wheel-plow, see No. 147, and 

- general plan of the smaller Gainsborough oil paint- 
ings in this catalogue. Size, 11” x 10”. 


® 149. BARBARA FRITCHIE.- The heroine of Whit- 
i. tier’s poem. This is an unknown picture, made 
“a by a capital army artist, just before the old lady’s 
death and after the battle of Antietam. It was 
| found in Frederick, years afterward, and brought 
a north by a colored man, from whom I obtained it. 
fs Comparison with her photograph, which I have, 
taken ten years before, establishes the fact that 
both are of the same person. Size, 24” x 20”. 

(See photo attached. ) 


150. DOUGHTY, THOMAS. Snow Landscape. 
Doughty was the first of our artists to use the 
“Silvery tone’ in his pictures. He has always 
had a high rank in American art. (See Tucker- 
man’s Book of the Artists.) Size, 12” x 10”, 
framed. 


151. BONFIELD, GEORGE R. Oil painting of sixty 

or more years ago; up the Schuylkill River. Size, 

Be : 12” x 9”. This, and the next six, are of historic 
| as well as artistic merit. 


re, 


ree 


154. 


155. 


156. 


157. 


158. 


159. 


, ‘a 
a0 
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42 


BONFIELD, GEORGE R. A view in Laurel Hill, 


from across the Schuylkill River. Painted in oil, 


more than sixty years ago. Size, 12” x 9”. 


BONFIELD, GEORGE R. Oil painting of a cas- 
cade scene in what is now Fairmount Park. Also 
a landscape on opposite side. Size, 14”x 10”. 


BONFIELD, GEORGE R. Two fine coast scenes, 
in oil..; Sizes, 187 5°13" 5 gene 


BONFIELD, GEORGE R. A large oil painting; 
ice-float up the Delaware River. Size, 24” x 16”. 
I wish it to be understood that these unframed 
oil paintings are so simply because I had no room 
in my house; they are excellent, and should be 
framed to show what they really are. 


BONFIELD, GEORGE R. A large drawing in 
black and white, after Ruysdael, an artist whom 
Bonfield greatly admired. The effect is powerful. 
SiZeod Mee he 

BONFIELD, GEORGE R. The lower island of the 
Smith’s island group in the Delaware, opposite 
South Street, Philadelphia. It had disappeared 
fifty years and more ago. It is an oil painting. 
Ney PARED Sohn dade | 


INDIAN WAR BELT. Elaborately worked and 
beaded. The tufts below represent scalp-locks, but 


are not. From the Iroquois of Canada. The © 


double-faced tablet attached is from Professor 
Morgan’s official Report, 1849, Plates 11 and 14. 
They establish the source and period of No. 158. 


NIAGARA FALLS. As they were in 1750. They 
are quite different now. Framed in gilt. This is 
one of those pictures splendidly colored by the 


| 


43 


English William Doughty (signed) for three 
years a pupil of Sir Joshua Reynolds. It must 

be seen to be appreciated; it is unique. Size, 15” 
x 10”. Framed. 


. JAPANESE CARVED TABLE. This is a very 


beautiful thing; it is carved, free-handed, in imi- 
tation of waves of the sea, and has a number of 
little balls sawed off in their sockets, which can be 
rolled around with the fingers. It is of light teak 
wood. It was brought over by a missionary from 
whom it was obtained. Size, 40” long, 15” wide; 
31” high. 


POMPEII. Facsimiles in color of frescoes of two 
female figures from the House of Cicero. Size, 


Q” x 64 is 


CARR, JOHN. Beautiful sepia drawing, landscape, 
figures and water, by this celebrated artist. Size, 


1514" x 44". 


TENIERS. Old Dutch crayon drawing. Peddler, 
figures in front of house, etc. Size, 12” x 834”. 


Second Session Sale 
| Wednesday Afternoon, May 28th, at 2.30 o’clock 


164. V. DE V. BONFIELD. Three fine drawings in 
Sepia. One view in White Mountains, one in 
Mount Desert, and one at Cohasset, Mass. Sizes, 
7X5" 3 OT X 81s 7 

165. GAINSBOROUGH, THOMAS. 1764. This is a 

| large and original etching by Gainsborough him- 
self. “Painted and etched by T. Gainsborough.”’ 
It is very scarce; none of my connoisseur-friends 
ever saw or heard of it; itis dated 1764. “THE 
GIPSIES” THIS WORK IS NOT REFERRED 
TO IN ANY BIOGRAPHY of Gainsborough. 
Size, 20” x 18”. With this lot goes Barker of 
Bath’s “Gipsies,’ (mezzotint by Giller) showing 
where Gainsborough got the idea of his group. 
In the same way he got his “Woodman in a 
Storm” from Barker’s “Woodman.” 


166. GAINSBOROUGH, THOMAS. A really splendid 
original painting executed in bistre, which (see 
Chamberlain’s recent biography), was one of the © 
mediums used by Gainsborough. This picture 
came direct from his studio, and was brought to 
America by “Old Scarlett,’ who said he worked in 
Gainsborough’s studio, when a boy. It is a wooded 

| landscape with a vista, across which is seen a dis- 

| tant church in April. Any one who has seen Gains- 
borough’s own etching, No. 165 above, will see at 

i once that this is by the same artist, as many of his 

other drawings and paintings confirm. The size 

of the painting is 11144” x 7%". It is beautifully 

. framed, outside measurement, 30” x 25%”. 


i eR ET A A 
on . ~ 


45 


ROTHERMEL, PETER. Large and_ splendid 
portrait, “THE OLD WARRIOR,” 1845. Size, 
Be TS". | 


. _WOODSIDE, J. A. SCENE ON DARBY CREEK. 


mize, 12344" x 9”. 


WOODSIDE, JOHN A. 1850. “Design for Sons 
of Temperance.” Size, 10” x 834”. 


LEUTZE, E. 1830. A large original drawing, 
black and white, “IN THE GARDEN.” Size, 
124 ” x 734, es , 


MORLAND, GEORGE. Color-print of his Guinea- 
Pigs. His most celebrated color-print. . Genuine 
color-prints are no longer produced. They must 
not be confounded with colored prints. Size, 20” 
ar. 


COOPER, T. S. Large cattle picture in oil colors; 
signed. Size 17” x11”. I cannot identify this 
work; it is powerful as an illustration. 


SCHUESSELE. Small oval female portrait in In- 
dia Ink. This artist was the teacher of Abbey, 
the celebrated painter here and in England. 


SCHUESSELE. Original Drawing. 1851. Size, 
ToS". 


SCARLETT, SAMUEL. One of his attempts to 
copy in water-color a picture by Adrian Vander- 
velde, with a curious result; signed S. SCAR- 
LETT. Size, 914” x 6”. “Old Scarlett” was long 
Curator of the Academy of the Fine Arts, while on 
Chestnut Street, Phila., until his death, when he 
was more than go years old. 


176. 


at gs 


178. 


u79 


1804. 


18. 


46 


CHINESE SHORE-SCENE. This is marked on _ 
the back. “Painted by a celebrated Chinese Ar- 7 
tist.”” Has capital perspective. Size, 11” x 814”. 


TEN handcolored original works by celebrated col- — 
orists (not the later copies); from the Stafford — 
Gallery, after Joseph Vernet, Cuyp, Swaneveldt, — 
Hobbima, Ruysdael, Kamp, Wm. Vandevelde, 
Claude Lorraine, and another by Ruysdael. These 
are perfect gems, and cannot now be obtained. 
They date from the year 1808. See Nos. 267, 
268. 


BONFIELD, GEORGE R. A large Painting at 
Cape May Point, painted sixty years ago. Mr. 
Bonfield told me that this beach has all disap- 
peared long since beneath the sea. Size, 18” x 
12”. Itis avery beautiful picture, and unframed. 


METALLIC PORTRAIT OF A GREAT GER- W 
MAN CAPTAIN, dating to 1517. Made ona © 
bronze sheet by the snarling process. The artist’s 
monogram T. F. is raised in the metal. A splen- — 
did work in sheet-metal. Circular, 1614”. - 


CUYP, ALBERT. Evening s¢ene: wifi ieowaant aa 
beautiful distance. Signed and dated. Size, 18” 
x Io”. Framed. 


BEERSTRAETEN, JAN. Celebrated Dutch 
artist (Amsterdam); died, 1687. His specialty 
was snow and ice scenes, mostly in Friesland. 
This little picture, for grouping of many figures, 
is inimitable. (Upright.) Size, 121%” x 8”. 
Framed. 


MOUNT, W. S. Harvest Scene on Long Island, 
with windmill in the distance. Size, 35 x 25”. 


: 


No. 189 Virgin of the Immaculate Conception Murillo 
(23-x220) ; 


188. 


189. 


CROPSEY,, J. F. A splendid river and mountain 
landscape. Size, 24” x 18”. 


SHAW, JOSHUA. Scene where settlers are over- 

looking an Indian attack and the burning of their 
home. Shaw was a good artist, and also the in- 
ventor of percussion-caps, for which he received 
large awards from the United States and Russia. 
SizegzO . x 19”. Hramed. 


DURAND, A. B. Upper Hudson. A beautiful 
picture. Size, 20” x 16”. Framed. 


BLOEMART, iN, Very ancient water-color; 
signed. Born 1564; died 1647. Size, 12” x8". 


MORAN, T. Water-color : River, Boat, and woods 
beyoud. “mize; 97 x 4”. 


TITIAN. A beautiful wash-drawing facsimile, by 
‘Watts, 1777. HOLY FAMILY AND LAND- 
eee PTO DISTANCE.. Size, 15” x12”. 


Tepe eNO IGURATION,. AFTER RAPH- 
AEL. A very curious and beautiful picture, 
which is hardly a print, as the whole is drawn in 
contour-lines at varying distances, which so pro- 
duce the precise effect of a bas-relief. Engraved by 
Henning, after the bas-relief of Raphael. It is 
entirely in line, and the effect is startling. It has 
a floriated border. This picture will clearly illus- 
trate Raphael’s method of drawing, as in my 
frieze-dado, No. 78, and “‘Raphael’s Bible,” No. 
288 of this catalogue. Size, 22” high x 18” wide. 


Peete, BARTOLOME ‘ESTEVAN. ‘An 
original in his third style, the vaporoso, his 
scarcest, latest, and best. A single figure, the 
“Virgin of the Conception.” Was brought from 


: ; T> + + * © ~ i = 

Spain-by ‘‘pseph Bonaparte, and wag imhis collee-9 
: “¢ 9 ¢ 
ize oat . This B04 
PLAT UE oe ‘ -\ ‘s “3 B& As ~i 
ae 4 

j ye Me GR a Ts 
>d on the red-earthy, Spanish base. (2° @ 


Buctianans Memoirs of Painting, Vol. 1, pages 
343.) A splendid picture, in perfect condition’ 
See also Nos. 71, 75 and 84 of this catalogue. 


190. RUSSIAN SACRED IKON. Brought, in perfect 
condition, from Russia. Oil painted figures, on 
thick wood panel, with perforated metal screen, — 
gold and silver, to show the paintings beneath; the — 
screen also stamped with Russian titles and leg- q 
ends. It is a high-class Russian object of devo- — 
tion. Was brought from Russia many years ago. — 
Size, 9” x 74". In plush framiesa2. exes 

With this lot goes also a beautiful Russian 
“Holy Picture,’ an old Saint, praying in deep 
snow, in a forest, and gazing up at a beautiful © 
vision of the Holy Family. The description is 
all in the Russian language. Size, 9” x 634” — 
(framed). 


191. DAUBIGNY. Landscape, water, etc., in crayon. 
Size, 834”.x 74%". Sce No. 486. 


192. CONFEDERATE SOLDIER, in battle, on the fir- 
ing line. A powerful water-color, in impasto. 
Note the Enfield rifle. Signed. Has Confederate 
flag, on the frame above. 


193. ROSA, SALVATOR. Powerful pen and ink draw- 
ing, with figures, winged female, and horse 
broken-down. Signature corroborated by several 
of his etchings, .Size,; 5° x 34qe— 


194. BONFIELD, GEORGE. Sixteen original draw- 
ings to illustrate Gray’s Elegy, which was a great 
favorite with Bonfield. He has noted that these 


, yy 
i ap. * 
CoA 
>) am - 
(Ml Bee. |) 

_ 195. 

i 
Bae 
; if 


199. 
200. 
201, 


202. 


49 


drawings were made in the ninety-second year of 
his age. They have more of Gray’s feeling than 
any illustrations of his work that I have ever seen, 
and ought to be reproduced for the public. 


GENERAL G. B. McCLELLAN. Equestrian por- 


trait in pen and ink, in which the whole design is 
composed of extremely minute handwriting; a re- 
markable performance, done without a glass. 


eisee il x 714", 


LOUTHERBOURG. Colored by his own hand. 
Peak’s Hole, Derbyshire. Size, 1214” x 9”. 


STEEN, JAN. A capital (but a decent), tavern- 
scene. His very high standing in art is well 
known, and his pictures are scarce and valuable. 
Every figure in his picture has something in the 
action to do; there are no lay figures. Signed on 
end of bench. Size, 1214” x 1614”. Framed. 


BOUT AND BOUDEWYNS. These two celebrated 
painters worked in conjunction. This is a lovely 
little panel-picture, landscape and many brilliant 
heures; cradled: Size, 932” x 7”. Framed. 


CRAIG, THOMAS. A wooded landscape, with 
were seize; t2 x 14”. Bramed. 


COLE, THOMAS. Scene at the mouth of Catskill 
Creek. Size, 21” x 16". Framed. 


SCRIVEN, H. Landscape, with Hunting-Dogs, in 
India Ink. Size, 54%" x 914”. 


HAMILTON, JAMES. Original water-color, for 
Dr. Kane’s Arctic work. (See Kane’s Arctic Ex- 
plorations, Vol. II, Page 237. Size, 8” x 4”. 
Framed. 


50 


203. READ, THOMAS BUCHANAN. Children play- 
ing together; a most beautiful picture, painted in 
Rome. I have never seen anything of Read’s to 
equal this. Size, 17” x 13%4”. Framed. (See 
No. 470. ) 


204. V.DEV.BONFIELD. A splendid sea-shore land- 
scape, water-color. Size, 11” x 7”. Another, 
smaller, 9” x 614". 


205. BENAZECH, PETER PAUEY Boraea 774. 
beautiful Italian scene in water-color. Size, 12” 
Xero & 


206. ROUSSEAU, TH. Drawing in color. A most 
beautiful landscape, with a line of direction to his 
engraver written across the bottom. Size,9%4” x 
6%". One of this character; but without writing, 
sold recently in New York for $850. With this 
goes a private etching by Rousseau, of a view, and 
below it a whole letter in his own handwriting, 
etched by himself. Compare the writing. Size, 
gx 87. Gee also Noe oe) 


207. HAMILTON, JAMES. Two splendid facsimiles in 
brilliant color, of his “Egyptian Sunset,’ and — 
“Moonlight near Venice.” Size, 12” x 8”. 5 


208. HAMILTON, JAMES. Rocks and Shore Scene. 
Water-color. Size, 6” x 4%”. Arctic Scene, 
3144" x 2”. Framed. This little thing is very 
rich; looks for all the world like an oil painting; 
it is most beautiful and big, small as it is. 


209. SAINT PETER’S AT ROME. Illumination; must 
be held up to the light; all perforated, and yet 
on the wall itself it is a splendid picture. Size. 
18” x 14”. A great function is in progress, 


210. 


2II, 


212. 


212. 


yn He 


at 


216: 


217; 


51 


MORLAND, GEORGE. Dated 1792. Imitation 
of a Wash Drawing, landscape. Size, 12” x 8”. 


ANCIENT CHINESE SKY-SCRAPERS. Two 
large illustrative prints by Medland and Pouncy, 
1796. These are very curious and interesting, 

_ although they are not themselves drawings. One 
shows a vast structure twelve lofty stories high, 
and strikingly like our most artistic “Sky- 
Scrapers.” They date back many centuries. Size, 
oleae og | 


NORWICH CATHEDRAL. Beautiful and elabo- 
rate drawing of a font, in India Ink. Size, 5%” 
te 

KRIDER. Original water-color landscape. KRIDER 
WAS A WELL-KNOWN PHILADELPHIA 
Berio OF LONG AGO. I NEVER SAW 
ANOTHER OFHIS WATER-COLOR DRAW- 
Meo) 517e, 434" x 3”. 


EUGENE DELACROIX. An original lithograph 
of a Lion Tearing a Horse, by this eminent artist. 
Very powerful. Its rarity and entire personal 
work by himself give it place in this catalogue. 
ize..0 «x. 7", 

GIGNOUX, F. R. Mountain Scene in the Adiron- 
dacks. This artist later returned to France. Size, 
Baer lS, 

BIRCH, THOMAS. A Humorous Drawing of 
Himself, his Wife, and his Little Boy, caught in 
a storm, and wildly heading for a tavern. This 
wash-drawing is capital. Size, 8” x 6”. 


BONFIELD, GEORGE R. Sketch in black and 
white. Mount Desert. Size, 10” x 7”. 


218. 


219. 


220. 


221. 


222. 


223. 


224. 


225. 


220; 


52 


FUSELI. Pen and Ink Drawing. Bacchante 
(many figures). Size, 10” x 6”. 

ROTHERMAL, PETER. Three large drawings in 
black and white; figure subjects, made for the old 
Graphic Club. Size; 11” x 8%”. | 

HYACINTHEZ. (drawing). A _ little French 
conceit in color; Kissing out the Window. Size, 
3 \% " x mt 

TURNER, J. M. W. A wild scene, browns and 
whites: “S1ze,°7" x 5 yee, 


TREVISANO, FR. Celebrated Italian artist, born | 


1656. Group of children in landscape. Size, 11” 
ScnOr 


BLAKE, W. Two splendid original figures on face, 


and a beautiful composition drawing on back. 
Also another composition with drawing on back. 
These are very rare. Also another, signed. Sizes, 
Bi 7 le oad ee 


V. DE V. BONFIELD. Original sketch of scene in 


the Catskills. Above Kaaterskill Clove. Size, 9” — 


xX ee 


COPE, CALEB. Signed as President; certificate of 
membership of V de V. Bonfield in the Old Penna. 
Academy of the Fine Arts, 1865, with James 
Hamilton’s fine picture of the building and sur- 
roundings, on Chestnut Street, Philadelphia. Size, 
Ox Th) 


COLE, THOMAS. Mohawk Indian, gazing at 
dawn, from the Catskills over the Hudson Valley. 


All artists and art-lovers regret that Cole didn’t . 


‘ 
bi 
% 
‘ 
A 
D4 
it 
oe 
a 
f 
* 
eS 
; 
' 
</ 


53 


stick to his “early love,” in which he was inimi- 
table. Size, 21” x 17". Framed. 


COLE, T. Sketch showing a group of Mohawk 
Indians, overlooking the Hudson Valley, from a 
place which is now the shelf in front of the Cats- 
kill Mountain House. This was also the spot 
from which the Mohawk Indian, in No. 226, gazed 
over the valley. Size, 6” x 6”. 


228, WILLIAMS, PERCY. Beautiful original drawing 
in colors of this celebrated English artist. Size, 


124% " x 7. 
229. BIRCH, THOMAS. A fine wooded landscape, in 
faze, 10" x 22”. Framed. 


230. WOOD, GEORGE B. 1868. A large landscape in 
India ink, Size Ig” x 15”. 


231. V. DE V. BONFIELD. Three Drawings in India 
Ink. Cohasset, Mass. Size, 11” x 5”. From 
Nature. 


232. SCRIVEN, H. Mother Dog and Puppies, in a ken- 
Henge oice Ox 6". 


233. LECAVE. Penand Ink Drawing, watering horses, 
Paeele etc, ize, 914" x 7”. 


234. BODDINGTON, H. London. Crayon Drawing 
Brod Tree, etc. «Size, 8" x 614". 


235. V. DE V. BONFIELD. Original sketch for his 
large painting (later on in this catalogue), “The 
Footprints of War.” Size, 9” x 7”. (See No. 
236. ) 


54 


236. V. DEV. BONFIELD. THE POG@TPRIN TS 20 
WAR. 1862. This is the large oil painting of — 
the study, No. 235. Size, 367 024 seme eenees 
son a number of my pictures are unframed is 
simply because I absolutely had no room in my 
house for more framed pictures, while I could 
study them if not framed. Framed. 


237. V..DE V. BONFIELD. CHRISt oe 
THE TEMPEST. Splendidly framed. This large 
and brilliant picture was in the Exhibition of the 
Pennsylvania Academy of the Fine Arts, 1863. 
Size, 47” x 3314". Framed 


238. V. DE V. BONFIELD. ~ MOUNT Oro ito 
LAND, MAINE. I always liked this picture 
better than any of his others. The broad sweep 
of light across the horizon is magnificent, and the 
whole picture is admirable. It is a marine view. 
Size, 36” x 19”; it hung in the Bonfield parlor 
until after his and his father’s death. Framed. 


239. V.DEV. BONFIELD. OLD ENGLISH CASTE 
with the legend on the back: 


“Four hundred years ago 
Men dug its basements deep.” 


Size, 36” x 20"; Framed: 


240. V. DE V. BONFIELD. STORMY DAY OFF 
COHASSET, MASS. Van Bonfield was really 
a rare artist. He died about 35 years ago. While 
in England the last time, many English connois- 
seurs and artists begged him to remain. It was 
a pity that he did not do so. He died in my arms, 
in 1885. Size, 4a exes 


ao 


GEORGE R. BONFIELD. A CLEAR DAY ON 
THE COAST OF FRANCE. The elder Bon- 
field was born at Southhampton, in England, in 
1805. He made two long visits to Europe after- 
wards. He died in 1898. He was really the 
maker of the celebrated Claghorn print collection, 
which sold, after the owner’s death, for $110,000, 
to Baltimore. Size, 36” x 22”. | 


GEORGE R. BONFIELD. ANCIENT GEN- 
OESE PINQUE, IN A STORM. This is a very 
vivid picture, the queer Genoese craft, ‘the 
Pinque,” is a fine figure in the storm. Size, 36” 
es | 


These are two capital interiors, with fine dogs. I 
call them my dog pictures. I have had them for 
a great many years, and they are beautiful. One, 
I find, has had a little bad luck, thanks to my 
neglect, two or three little holes punched, but can 
easily be repaired. Size, 36” x 29”. Framed. 


THE WILLIAM DOUGHTY PICTURES (the 
English Doughty). See Nos. 28 and 2g. I obtained 
these pictures, left in England many years ago, 
and have kept them under lock and key ever since. 
They are all actual paintings, merely using light 
impressions of engravings by the best artists as a 
basis. His coloring is accurate, as, in his wide 
travels he saw with an artist’s eye the physiog- 
nomy of every country and costume he depicted. 
All these pictures will frame with splendid effect. 
THE ROYAL PALACE OF. HAMPTON 
ee ke E704.) Size, 15447. x9". 


245. FLORENCE IN THE DISTANCE, seen from the 
Capuchin Convent, 1794. Size, 17” x 1014”. 


246. 


247. 


248. 


240. 


250, 


251. 


252. 


56 


GARDEN OF VERSAILLES. Splendid for cos- 


tumes, 1704; Size; 165 xe 

MASKED BALL IN RANELAGH GARDENS, 
London, on birth of George III, 1759. Splendid 
for hundreds of costumes. Size, 15%” x94”. 


VIEW OF RICHMOND (now in London). From 
the “Star and Garter on the Hill., 1794.” Size, 
1514" x Oe 

VENICE, BRIDGE, RIALTO, AND DELPHENO 
PALACE. 1794. Size; 16327 kro. 


THE ROYAL GALLERY OF BRITISH PIC- 


TURES. Inscribed to Queen Victoria. 49 mag- 
nificent engravings from great British masters. 
Size, 24”x18”. Original edition. Contains 
seven pages of facsimile signatures of subscribers, 
including Queen Victoria, Louis Philippe, Peel, 
Derby, and hundreds of others. Full morocco. 
The following books are for connoisseurs, art- 
lovers, and students of art: 


ENGRAVINGS FROM THE PICTURES OF 
THE NATIONAL GALLERY. Published for 
the associated engravers, 1840. Dedicated to 
King William IV. 29 engravings by Burnet, Le 
Keux, &c. Size, 24” x18”. Original edition, 
calf. 


CLAUDE LORRAINE. This is one of the most 
perfect and beautiful series in existence. Size, 
22”x 14”. “Imitations of Claude Lorraine, by 
F. C. Lewis, from the drawings in the British 
Museum.” They consist of twenty plates, printed 
in color, and dedicated by permission, to the 
king, 1837. These are all proof impressions. 


Se Pe ae ee ee 


Se 


ed 


These are not the plates in the “Beauties of 
Claude” in this catalogue. These originals were 
brought to the British Museum from Madrid. 
These facsimiles are really color-prints. 


THE ENGLISH LAKE DISTRICT, by J. B. Pyne, 
1853. There are fifty or more full page plates, 
size, 2442" x 18%”. This is a very celebrated 
work, and in splendid condition. Same artist as 
No. 263. 


/ 254. THE BRITISH GALLERY OF PICTURES. 

These are all from the old masters, none English. 
Inscribed to the King by Henry Tresham, R. A., 
professor of painting in the Royal Academy, Wm. 
Young Otley, F. S. A., and P. A. Tomkins, his- 
torical engraver to her majesty. Size of plates, 
22” x 16”. Plate XV fully corroborates the Van 
Os painting in this catalogue, No. 16; please com- 
pare. 


255. BRITISH GALLERY OF ENGRAVINGS, from 
pictures of the Italian, Flemish, Dutch and English 
Schools. Edited by Edward Foster, A. M., F. R. 
Soe 52 splendid engravings, 1807. Size, 
19” x 13%”. (French and English.) Has book- 
plate in front. 


Poop urwtA JTALICA. Engraved title page in Latin 
(book-plate in. front), edited by ‘Petri Paol1, 
Montaganani, Mirabili, Romae A., MDCCCVI.” 
A very rare and valuable collection of 50 or more 
large engravings, nearly a dozen of which are of 
the different ancient Sibyls. Red-morocco bind- 
ing. Size of plates, 2214” x 16%”. 


257, 


258. 


259. 


260. 


261. 


58 


FIGURES FROM PICTURES IN ENGLAND 


BY CLAUDE, WATTEAU, AND CANA=S 
LETTO. Edited by Colnaghi, London, 1841. — 


A hundred or more large lithographs by Ben- 
dixen, printed in colors. Size, 2144” x 14%”. 


This is only a scrap-book, but it is a very old one. — 


The pictures, 243 in all, are of cathedrals, old 
Flemish and other engravings, etc., and in perfect 
condition. Size, 1744” x 14”. The book must be 
examined to learn its value. 


A PICTURESQUE VOYAGE TOINDiAy es 
WAY OF CHINA. By Thomas Daniell, A.R.A., 
London, 1810. This is an almost inimitable series 
of splendid color-prints by these eminent artist- 
brothers more than a hundred in number. It is the 
finest of all the work of the Daniell brothers. Size, 
1314” x 10%”, and in perfect condition. 


RUINS OF ANCIENT SPLENDORS® The @id 
Castles and Abbeys of England. By F. Calvert. 
London, 1822-1825. This is a perfectly magnifi- 
cent and elaborate work, broad, vivid and bril- 


" 


Poe diy tote 


THE WORKS OF GERARD LAIRESS2 as 
large plates, drawn and engraved by the artist 
himself. Original edition. Lairesse was born at 
Liege in 1640, died at Amsterdam in 1711. See 


Bryan’s Dictionary. These plates bear the date — 


1674. Size, 20144” x 1444”. 
SCENERY OF THE GRAMPIAN MOUN- 
TAINS. By George Fennell Robson, of the So- 


ciety of Oil and Watercolors. The engravings 
were executed by Henry Morton and colored from 


liant, each in its own landscape. 21 plates, size 


59 


drawings made on the spot by the author. Forty- 
one magnificent colored prints. London, 1819. 
Size er" x 14”, 


WINDSOR AND ITS SURROUNDING SCEN- 


ERY, the Park, the Thames, Eton College, etc., 
by J. B. Pyne (same artist as No. 253). Chromo- 
lith frontispiece. Thirteen splendid plates, 1838- 
foe ize, 21 x 1444". A’ recently sold copy 
brought $211. 


JOHN CONSTABLE, R.A. English Landscape 
Scenery; a series of 40 mezzotint engravings, 
many of which are proofs, on steel, by David 
Lucas. From pictures painted by John Constable, 
R.A. London, 1855., Nothing that I could say 
would enhance the value of this splendid work; 
the description in the list of plates is itself a school 
Geant size 17) x TT”. 


APOSTOOL. One of the greatest aquatint artists 


who ever lived. Twenty-nine aquatints, printed 
in colors, by this artist, to illustrate “Travels 
Through the Maritime Alps,” etc., etc., by Alba- 
nis Beaumont. London, 1795. Size of plates, 
1644" x 10%”. This work is very rare. 


TURNER, J. M. W. “The Liber Studiorum.” Fac- 


similes of the 33 original etchings of the artist, 
from the collection of John Ruskin, as Turner 
gave them to the mezzotint artists to complete. 
These show Turner’s own work on the plates. 
In folio, loose, Cambridge, 1879. Size, 18x 


n” 


fae 


267 and 268. The Collection of Pictures of the Most Noble 


the Marquis of Stafford, in London, arranged ac- 
cording to schools and in chronological order. By 


60 


William Young Otley, F.S.A., and Peltro William _ 
- Tomkins, Historical Engraver to His Majesty. — 
London, 1818. Two volumes, size 16” x 12”. — 
This most celebrated gallery comprises 291 plates — 
and 13 plans. It is in perfect condition, and is 
now publicly inaccessible. Has bookplate in front. — 
See No. 177. 4 


269. LIVERSEEGE, HENRY. 37 full-page mezzotints 
from the works of this celebrated English painter, 
born 1803, died 1832. This is a series of splendid 
figure subjects and is, of course, practically inac- 
cessible now. London, 1832-1833. Size, 1642” 
x 11”. The mezzotints are by Bromley, Ward, 
Quilley, and artists of that rank. 


270. BEAUTIES OF CLAUDE Wie ae 
splendid mezzotints from Claude’s “Liber Veri- 
tatis.’ By Every, Lupton, Bromley, Dawe, Phil- 
lips, Hodgens and Say. All open letter proofs. 
The mezzotints are all in various shades of brown, 
facsimiles of the originals. A most important 
work. London: W. B. Cooke, 1825. Size, 1614” 
x 11144". GAT full page) 


271. The Engraved Works of Marcenay de Ghuy. Born 
1722, died 1811. Bryan (dictionary) describes 
him as one of the most successful imitators of 
Rembrandt. There are 53 plates after celebrated 
artists, 9 of them after Rembrandt. The book 
is in French. Paris, 1760-1768 (bound in vel- 
lum) = S326. (09 ee 


272. A collection of separate engravings from paintings 
and drawings by Vandyck, Carracci, Murillo, 
Carlo Dolci, Salvator Rosa, Teniers, Rembrandt, 
Vandevelde, Brauwer, Netcher, etc. This is the 


61 


collection I have always prized most, and am loth 
to see it go. — : ar 
It is not a book at all, but a collection of all 
sorts with merely a title page, “printed for W. T. 
Gilling.” The works are perfectly splendid, the 
engravers the best, and most of the impressions 
proofs. I have made an index of the engravings 
in my own writing. There are 13 mezzotints, 
many by Captain Baillie; many Bartolozzis, some 
_by Earlom, Caroline Watson, 9 mezzotints after 
Rembrandt, and the engravings are after the best 
pictures of the most eminent masters. Plates 79 
and 80, by Bickham, who died in 1767 (see Bryan 
and Redgrave), are from Rembrandt’s original 
drawings, never published (for the Two Crosses 
and for the Three Crosses), and are inimitable, 
and probably unique. There are gg full-page 
plates. The binding is green calf, with gilt panel. 
Size, 1634” x 11%”. In fine condition. 


Tie OOL OF RAPHAEL. Guide to Ex- 
pression in Historical Painting. Examples en- 
graved by Duchange, under inspection of Dor- 
igny, from the Heads in Raphael’s cartdons at 
Hampton Court, etc. There are 45 full-page 
plates after Raphael; 13 after Salvator Rosa and 
others; 7 by Richard Earlom in sepia, after 
Claude; and 25 after other great artists. Lon- 
don (Boydell), 1782. Size, 1614 ” x 11”. 


Thirty Splendid Mezzotints by $. W. Reynolds, 
Charles Turner, W. Ward, T. Lupton, H. Dawe 
and J. P. Quilley, to illustrate the “Picturesque 
Scenery of the River Meuse.” London, 1823- 
1826. This is a really remarkable collection; the 


62 


mezzotints are in India ink impressions. It is, of 4 
course, entirely inaccessible now. Size, 14%” x q 
TOU rs . | q 
275. “Choice Works Composed by WATTEAU.” (The — 
book is in French.) 43 beautiful full-page plates — 
by eminent engravers. This also is a remarkable © 
volume and very rare, if not now inaccessible. — 
Paris (Delatre),. 1330." Sizes oe = 


276. PETER DE WINT. Memoir by Walter Armstrong, 
M.A. This is a modern work, and is illustrated 
by 24 powerful and beautiful photogravures. I 
always liked de Wint’s work, and, as a makeshift, 
I like this. The book is oblong horizontally. Lon- 
don: Macmillan & Co., 1888. Size, 10” high, 
1344” long. 

277. PICTURESQUE VIEWS OF Ter eit fo.) 
ENGLAND. By C. F. Robson. 32 full-page 
engravings by Le Keux, etc., from Robson’s origi- 
nal drawings. The plates are beautiful and very 
powerful. London (J. Britton), 1828. Size, 
1334" x 934". 

278. Studies, in color of the Originals, from the Great 
Masters. 18 brilliantly colored plates from Guido, 
Sir Joshua, Murillo, Quintin Matsys, Gainsbor-  — 
ough, etc. By William Dickes. Some of these 
are very fine, and the original colors are repro- 
duced from them, as the queen and nobility gave 


the artist access to their collections. London (no 
date): ° Size, tata. x 1Gye ae 

279. BURNET, JOHN F. ON LIGHT AND SHADE 
IN PAINTING. | Illustrated by examples from 


the Italian, Flemish and Dutch Schools. All con- 
noisseurs have heard of this book, which contains 


63 


AI original plates by Burnet (proof impressions), 
but few have seen it. I obtained this copy from 
an eminent painter (at his death), who had had 
it for fifty years. London, 1834. Size, 11144” x 
84". 
Part I, STUDIES AND DESIGNS BY RICHARD 
WILSON. Two parts in one volume. Done at 


Rome in the year 1752. Oxford, 1811. 50 fac- 
similes in tone and colors. In the same volume, 


Part Il. ETCHINGS FROM THE WORKS OF 
RICHARD WILSON (with Memoir). London, 
1825. 42 full-page etchings from his pictures. 
By Hastings. I imported this rare book from 
England thirty years ago. Size, 12” x 914”. 


ATALA BY CHATEAUBRIAND. Nothing very 
special about this book, but it contains 30 large 
plates by GUSTAVE DORE which are very char- 
acteristic and out of the common. New York, 


Poon size, 12° x 9”. 


HOME BOOK OF THE PICTURESQUE. In- 
scribed to A. B. Durand. This contains 13 en- 
gravings from paintings by Huntington, Kensett, 
Durand, Cropsey, Richards, Church, Gignoux, 
Cole and other American painters. The engrav- 
ings are by good artists also (see list), and were 
made expressly for this work. Size, 11144 ” 8”. 


GALLERY OF LANDSCAPE PAINTERS, of 
American Scenery. This comprises 24 large and 
capital engravings from paintings by Casilear, 
Kensett, Smillie, Momberger, Gignoux, Inness, 
De Haas, Wm. Hart, Beard, Thomas Hill, etc., 
of such scenes as Chocorua Peak, Trenton Falls, 


64 


Ausable Lake, Dismal Swamp, Indian Rock, Wa-_ 
bash River, Lake George, On the Prairie, Haines’ 4 
Falls, Lake Champlain, Niagara, Upper Missis- — 
sippi, Near Leeds, N. Y. (the latter after pees | a 
etc. N. Y., 1872." Size, 16" ones 


284. ORNAMENTS OF MEMORY. Eighteen large — 
engravings from pictures by American artists, a 
Cole, Leutze, Rothermel, Durand, etc., and en- 
graved by good engravers. The pictures in this 
collection are among the most celebrated of the — 
respective artists. New York, 1855. Size, 12%” 


x gif”. 
285. (1846), and the following year, 


286. (1847). ‘The only ones ever issued. THE LON- 4% 
DON ART UNION. (Original copies.) The 9 
1846 volume contains 250 small steel engravings 
of recent English pictures up to that date, with 
artists, sizes, and prices; the 1847 volume con- 
tains 265, similar in style. It is the most impor- 
tant compendium of English artists from 1820 — 
to 1847 I know of. The plates are small, but 
beautiful. Size, 1332 x 9%”. 7 


287. TURNER. THE RIVERS OF FRANCE. (Orig- 
inal copy.) Descriptions in French and English. 
62 full page engravings of this great work of 
Turner. The engravings are by celebrated en- 
gravers, script proofs. London (no date). Size, 
94” x 6". Pant 

288. RAPHAEL SANZIO OF URBINO. The wall- 
paintings around the Loggie or galleries of the 
Court of the Vatican, which are commonly known 
as “Raphael’s Bible.” (This great work is fully 
described on pages 273-278 of Dr. Franz Kug- 


ty 46 Aen 


65 


ler’s “History of Painting.” Murray’s Edition of 
1842, Part I.) This old original volume, of 1674, 


_is oblong horizontally (19%4” x 1534”) and com- 


prises 53 engravings on copper, by Pietro Aquila, 
the very celebrated engraver (see Bryan’s Dic- 
tionary of Artists), who came to Rome in 1670. 
This is a first and original copy of this great work, 


_and in the title, is inscribed, “Christinae Reginae, 


SVECORVM, Gothorvm, Vandalorvm, etc.” The 
title-page is itself a splendid and complex engrav- 
ing of great power. — 

It is almost impossible to describe this vol- 
ume. It is probable that there is not another 
original copy in America, and certainly very few 
anywhere else. I obtained this long ago, almost 
by chance, to illustrate my Raphael dado, No. 78 
of this catalogue. I have picked out, and ticked 
off in pencil, perhaps fifty objects from these 
engravings of corresponding objects in my 
Raphael Frieze-dado of the “Rape of the Sabines.”’ 
The hair on the heads of the male soldiers is iden- 
tical in all respects, and no artist except Raphael 
has so depicted it. Then also, in plate 50, observe, 
the same as in my Frieze-dado, the remarkable 
movements shown by converging crowds from 
right and left; also the curved sides of the altar 
(overturned in my picture), and the identity of 
the horses, and of the women and girls, in many 
of the plates, with those in my picture. But why 
recapitulate? They are there by dozens. This 
volume, of 1674, is the original of that date, is in 
the original binding, and the paper is almost like 
parchment. Size, 1914” long x 1534” high. It 
ought to be a work of extreme value. Compare 
with Kugler’s elaborate description. 


66 


289, 290, 291. SAMUEL PROUT. Three original cop- 


292. 


203. 


2094. 


295. 


ies of his soft-ground etchings, unbound, but 

stitched, as issued. 

1. Progressive Fragments, 24 ciate 

2. Studies of Boats and Coast Scenery, 16 plates. 

3. Cottages, Village Scenery, Ruins, Bridges, 
etc., 30 plates. 

Splendid original, soft-ground etchings. London, 
1816, 1817. . Sizes, 15° x 101s eta ee 
DL 1792 tae 


CLAUSSIN. Eighteen large, original etchings, by 
Joseph de Claussin after Berghem, Bloemart, De 
Boisseau, Brown, Potter, Rembrandt, Worlidge, 
etc. A splendid work, and as originally issued. 
London, 1815. Size, 18” x 10%”. 


DE WINT, the River Rhone. Shows where Napo- 
leon landed from Elba, etc. 24 plates, engraved 
by W. B. Cooke, London, 1825. Size, 11” x 8%”. 


L. FRANCIA. Painter in Water Colors to H. R. H. 
the Duchess of York. Four large soft-ground 
etchings. 1. A Peter Boat; 2. A Peter Boat 
Below Gravesend; 3. A West Country Barge; — 
4. A Ballast Barge. Francia wasavery celebrated 
artist. London, 1813. Size, 12” x 9”, as issued. 


JOSHUA SHAW. A New and Original Drawing 
Book. This is, indeed, very original. The artist 
was the inventor of percussion caps for firearms. 
At the end of the book is an original full-page 
etching, carried through four stages, the last being 
a very beautiful hand-colored picture. Philadel- 
phia, printed by James Maxwell, 1819. Size, 
oblong, 1514” x 1044”. 


67 


296. LIEUTENANT JOHN EVANS, ROYAL NAVY. 


A series of beautiful shore scenes in water-colors, 


drawn and mostly colored during his various 


voyages, with topographical descriptions below. 
They are not dated, being his own private work, 
but they show a master’s hand. There are 39 
pages of them, several on a page, and are prob- 


_ ably 75 years old, as shown by the forts at Rio 


de Janiero and elsewhere. Size, 144%” x 9”. 


297. THE LIFE OF GEORGE MORLAND. With 


remarks on his works, and a catalogue at the end, 
of all his known pictures, with descriptions and 
the collections in which they then were. With 
five full-page etchings from his works, and por- 
trait frontispiece. Portrait by Charles Picart. 
By G. Dawe, R. A. A great biography of a 
great artist by a great artist. Very rare, and 
quite inaccessible now. London, 1807. Size, 9” 
x10". 


298, 299. PATERSON’S BRITISH ITINERARY. 2 


volumes. This extremely scarce and valuable 
book may scarcely be known. It dates fifty years 
before the first railway, and contains, printed in 
copper-plate, by Tomkins, and Ellis, all the main 
and cross-roads of England and Scotland, with 
the topography, castles, seats of the gentry, etc., 
and copious alphabetical indexes to connect them 
up. 

In the first volume there are 186 columns of 
such roads, with distances, etc., and in the second 
volume there are 142 columns of direct roads, and 
30 of cross-roads. It is dedicated to the King, 
with a magnificent royal coat of arms, and each 
volume has a heraldic book-plate. The volumes 


68 


are bound in full calf in form for travelers, and — 
are in perfect condition. London, 69 St. Paul’s — 
Churchyard, 1785. Size, 742" x 4%” 


300. W. H. PYNE. This book, comparatively small as — 
it is, is one of the quaintest books I know for — 
actual high-class colored art-etchings. It pur- 
ports to be ‘‘Nattes’s Practical Geometry, or Intro- 
duction to Perspective,” but it is nothing of the 
sort. It is described as “translated from the 
French of Le Clerc; with additions and correc- 
tions.” Le Clerc was one of the greatest and most q 
productive engravers which France ever produced. 
See two entire columns devoted to him in Bryan’s 
Dictionary of Artists. Among his work was “The 
Principles of Design, in 52 prints,’ and this was 
doubtless the source of the present work. Le 
Clerc died in 1714, and W. H. Pyne engraved and 
colored his illustrations (etchings) in this work, 
in 1803. | 
Each plate has a series of lines engraved, by 
T. King, to illustrate the applications of art prin- 
ciples, and the lower half of each plate contains 
one of W. H. Pyne’s beautiful etchings, colored 
by himself, to illustrate the application. W. H. 
Pyne (see Redgrave’s British Artists), was one 
of the original members of the British Water- 
color Society, and was an artist of high ability. 
This volume, No. 300, contains 44 of his etched 
plates, splendidly executed, and colored by himself. 
They are signed and dated 1803. The quaint sub- 
jects are what most interested me; a few of which — 
are the following: (see complete list, pp. 9 and 
10) “A Horse-Mill,” ‘“Wheelwrights at Work,” 
“Men Grinding,” “Stall at a Country-fair,” “A 


69 


Group of Water-carts,” “A Well with a Horse 
for Raising Water,” “Sawyers at Work,” 
“Thatching a Hay-stack,”’ “Making a Rudder for 
a ship of War,” “Steam Engine for Raising Coal,” 
etc:, etc, Size, ro” x 6”. 


| 301. PAINTINGS BY WILLIAM DOUGHTY (see No. 
| oe 244). GENERAL VIEW OF LONDON, next 
a the River Thames, 1794. 15” xg”. 


302. LONDON AND WESTMINSTER FROM 
: GREENWICH PARK, 1794. Splendid for old 
wmecostiines, (size, 1514" x 9”. 


303. THE GREAT ARSENAL AT VENICE. Splendid 
for architecture and Italian costumes. 1794. Size, 
1644” x 10”. 
304. WIDE VIEW OF CADER ee IN Meese 
, Tinted Margins. Size, 14” x 11” 


305. ST. PAUL’S CATHEDRAL, LONDON, from the 
Northwest, 1794. Size, 15%4"” x9”. 


306. BUILDING FOR THE FIREWORKS IN THE 
GREEN PARK, to celebrate the capture of 
Quebec and conquest of Canada. George II. 
1759. These show the multiform costumes of 
that period. Size, 17” x 9”. 


307. THE VILLA DELLA LUNA, NEAR FLOR- 
ENCE. Quaint costumes, mounted and on foot, 
1794. Size, 1644” x 1014”. 


308. GENERAL VIEW OF THE CITY OF PARIS 
from the village of Chaillot. A grand view of 
the city, 1704: Size, 17” x 814". 


309. 


310. 


eli 


Rie: 


373: 


Bia 


315. 


316. 


i? 


GENERAL VIEW OF THE CITY OF AMSTER- 
DAM, from the bank of the Tye, seen across the — 
water. Splendid for shipping, as well as for the 
city. Size, 1514” x 94”. ; 

A GRAND VIEW FROM THE TOP OF RICH- — 
MOND HILL. Carriages, horses, pedestrians, 
costumes and a grand sweep of country, now all 
changed, 1794. Siz@\1Si4 (eos 

ST. JAMES’ PARK, WITH HIS MAJESTY GO- 
ING TO THE HOUSE OF LORDS. Coaches, 


military, trumpeters, people, and Park and Archi- 4 


tecture. 1704. - Sizé, 15% se 


PERSPECTIVE VIEW OF THE TOWN AND 
FORTIFICATIONS OF THE ISLAND OF 
MALTA. A vast scene of water, towns and 
country. 1794. - Size, 1534" owe 


THE ROYAL PALACE OF KENSING (Oia 
London. This is a most capital collection of the 
great hoopskirts and other costumes of that period, 
1704.0 SIZE, 5 4 


THE GRAND CANAL OF VENICE (after Can- 
alette). Gondolas, costumes, architecture, water, 
etc., and a great and majestic official gondola 
barge. No date, but ancient. Size, 16%4” x 
934”. 

CHORCH OF ST. JOHN OF TRE ia 
ROME. Size, 16%” x 9%”. : 


THE GRAND WALK IN VAUX 3HAEL 
GARDENS, LONDON, with the triumphal 
arches, statue of Handel, etc. Splendid for 
scenery and costumes, 1794. Size, 1544” x 9%”. 


318. 


320. 


321. 


B22. 


ve 


THE ISLAND OF ST. HELENA, FROM THE 
SEA, while in possession of the East India Com- 
pany of England. After Van Ryne. Flags, boat, 
shipping, town, precipices, etc. No date, but long 
anterior to the year 1800. Size, 1544” x gi”. 


THE GREAT SQUARE AND STADT HOUSE 


_ IN AMSTERDAM, with an exhibition of the fire 
engines of that period, with men working them, 
filling them from barrels, etc. Exceedingly quaint 
and picturesque, and dates back to 1794. Size, 
15% ” x ee 


A GENERAL VIEW OF THE CITY OF OX- 
FORD. This is a splendid picture of itself. It 
dates back to 1773. -Size, 17” x 934”. 


Poet ANS CHURCH OUTSIDE THE 
WALLS OF ROME. Architecture and Italian 
Petes. 1704. Size, 1614" x 10°. -All the 
above, from No. 301, are accurately and brilliantly 
painted by Wm. Doughty. 


HARDING, JAMES D. The four books following 
are scarce and high-priced. “The Elementary 
Art,” and the “Principles and Practice of Art,” 
on account of their value and liability to injury 
are not allowed to be taken out from any library 
to which they belong, as I am told. The present 
volume, Harding’s “Elementary Art,’ is full of 
splendid illustrations. London, 1834. Size, 15” x 
ot 


HARDING’S PRINCIPLES AND PRACTICE 
OF ART. Much larger and more advanced than 
No. 321. Covers the whole field with multitudes 


72 


of illustrations. The above two are standard 4 
works on these subjects. London, 1845. Size, — 
Laub. ae oe ay | 


323. HARDING’S PICTURESQUE VIEW OF THE q 
ANTIQUITIES OF IRELAND. Two volumes — 
in one. Drawn on stone by James W. Harding, — 
from the original sketches by Robert O’Callaghan q 
Newenham. Inscribed to Lord Wellesley, Gov- — 
ernor-General of Ireland. tog full-page plates, — 
besides six of ancient croziers. London, 1830. 
Size, 12" x 'Ou4". 


324. HARDING’S PORTFOLIO. Twenty-four full-— 
page plates, printed in colors. England,Germany, 
the Rhine, France, Italy, etc. London, 1837. 
Size, 1444” x 10%”. Very scarce. 


325. GALLERY OF LANDSCAPE SPAIN Taha. oo 
AMERICAN SCENERY. Edition de luxe, full 
Turkey binding. Twenty-four full-page plates by 
the best engravers, after pictures by Casilear, Ken- 
sett, Inness, Gignoux, Hart, De Haas, Beard, Hill, 
etc. Putnams, New York, 1872. Size, 16” x 12”. 


326. ART TREASURES OF THE CENTENNIAL SS 
EXHIBITION, 1876. Inscribed to the Em- — 
peror of Brazil. Edition de luxe, full Turkey 
binding. Edited by C. B. Norton. Many full- 
page plates, printed in colors. Philadelphia, San 
Francisco, and Trubner & Co., London, 1877. 
SIZE, 0 xia 


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Third Session Sale 


Thursday Afternoon, May 29, at 2.30 o’clock 


327. CABINET OF THE ARTS. Edited by J. Dougall. 
i Two volumes in one. This large book is the best 
practical compendium of all sorts of arts that I 
know of, old as it is. It is full of illustrations, and 
the second volume comprises a great many full- 
page plates, many in the recent lithography intro- 
duced the preceding year. There are eleven 
originals by Prout (2 in colors), 9 colored plates 
of shells, 21 of flowers, and a lithographed poem 
to Alois Senefelder, by the author of Dr. Syntax. 
London, 1819-1820. Size, 9” x 12”. 


eee ss ITALIAN “AND ENGLISH 
gee LANDSCAPE. Twenty-six full-page plates by 
this eminent artist, Sir Augustus Callcott, R. A. A 
_ splendid work; note the subscriptions and dedica- 
tons. Henry Graves, London, 1847. Size, 21” 

“x 14i4”. 


seem re GIBSON, R. A,. IMITATIONS OF 
PrvviNGo, BY | JOHN GIBSON, R.A, 
Sculptor, (born 1790, died 1866); engraved by 
G. Wenzel and L. Prosseda, Rome. This is a 
very remarkable work by this great sculptor, from 
the old classical figures printed in tints, and ap- 
plied to represent sculptures. London, 1852- 
1859. 36 full-page plates, size, 21” x 1414”. 


- 330. MONTAGUE STANLEY’S DRAWING BOOK. 
From a series of studies made expressly for the 
work. Drawn on stone by himself, and printed 


74 


by Mr. S. Leith. Royal Scottish Academy. 25 q 
full-page plates. Edinburgh, 1841. Size, 1614” — 
x 1256". . . 


331. GEMS OF EUROPEAN ART. The best pictures — 
of the best schools. 45 full-page plates: Cuyp, — 
Vandyke, Wilkie, Dou, Murillo, West, Coreggio, — 
Claude, Teniers, Matsys, Newton, Bol, etc. Ed- “a 
ited by S. C. Hall. London (no date). Size, 14” — 
Sate: 


332. ETCHED EXAMPLES OF PAINTINGS OED 
AND NEW. With notes by John W. Mollet, 
B.A., Officer of Public Instruction, France. There 
are 20 splendid full-page etchings, after Rem- 
brandt, Corot, Hals, Vander Neer, Cuyp, etc. The 
etchings are by Rajon, Flameng, Waltner, Unger, 
‘etc. London, 1885. Size, 13%° x 10". 


- 333. FARM-HOUSES AND COTTAGES IN ENG- 
LAND AND WALES. Built chiefly during the 
Dynasty of the House of Stuart. Etched by 
FRANCIS STEVENS, from drawings by 
PROUT, BURNEY, PUGIN, VARLEY, CHA- “@ 
LON, DE LA MOTTE, HILLS, PYNE and ae 
others. 55 full-page etchings. I presume that 
nearly every connoisseur knows of this splendid 
scenic work, by report at least. Every cottage 
stands in its own environment. London, 1815. 
ze, ae eee 


— 334. PHILIP GILBERT HAMERTON. Imagination in 
Landscape Painting, with many illustrations after 
Claude, Poussin, Rembrandt, Rubens, Ruysdael, 
Salvator Rosa, Gainsborough, Turner, etc. Bos- 
ton: Roberts Bros., 1887. Size, 14” x 10”, - 


75 


THE RIVERS OF NORFOLK. Scenery of the 
Yare, the Waveny, and the Bure. From pictures 
painted by James Stark. (Bound in leather.) 
Stark was a pupil of “Old Crome.” He was born 
in 1794 and died in 1859. “His art was original 
and purely English.” 36 full-page plates. The 
list of subscribers, headed by the King, covers & 


columns. Norwich, 1834. Size, 13” x 10”. 


EDWARD MORAN. LAND AND SEA. When 
Ned Moran, a capital painter, went to New York, 
he made these drawings from his many paintings, 
as Claude made his Liber Veritatis. There were 
75, of these, and he afterwards transferred them 
to stone for permanency and public use. They 
are beautiful, and are an art education in them- 
selves. Size, malas II”. 


COROT. HIS LIFE AND: WORKS. By David 
Croal Thomson, with 50 illustrations. London, 
ee ize, F144" xg’. 


338. EASY STUDIES IN WATER-COLOR PAINT- 
Peewee ook Po Leitch and J. Callow. Nine 
sketches from Nature, in simple tints; plates 
printed in colors, and fine and beautiful. Full- 
page plates. Blackie & Son, Edinburgh, 1879. 
eee x GO”. 


339. TABLE BOOK OF ART. A HISTORY OF ART. 
By P. T. Sandhurst, Ph.D. Comprises 31 full- 
page engravings on steel and 32 on wood. The 
historical portion is of high importance. A sump- 
tuous volume. New York, 1878. Size, 101%” 
Rts 


340. 


341. 


342. 


343: 


344. 


345; 


76 


PHILIP GILBERT HAMERTON. Contemporary — 
French Painters. 16 full-page plates. Univer- — 
sity Press, Cambridge, Mass., 1895. Size, 9” — 
x 6". eo 


SCENES FROM A WINTER’S TALE (Shake- _ 
speare). 42 full-page plates, printed in colors. q 
In classical antique style. A weird but splendid — 
book. London: Day & Son. No date. Size, — 
11” x 8%”. q 


500 Terms in Art and Art Life. By Charles El- 7 
veena. Perhaps somebody might want to learn ~ 
about all these things. Philadelphia, 1874. Size, — 
LOK Fs | 


PRECEPTS AND OBSERVATIONS ON THE © 
ART OF COLORING IN LANDSCAPE — 
PAINTING. By William Oram, Esq., of His ~ 
Majesty's Board of Works. With outline de- — 
signs from the masters. This book is very rare. 
London, 1810. Size, 11” x 9’. 


BASTIEN-LEPAGE AND HIS ART. Four books — 
in one. By Andre Theuriet. Jules Bastien-Le- 
page as Artist, by George Clausen; Realism in 
Painting, by Walter Sickert; Marie Bashkirtseff, 
by Mathilde Blind. With 15 full-page illustra- 
tions. J. Fisher Unwin, London, 1892. Size, — 
104” x 7”. 


STUDIES IN ANIMAL PAINTING. By Fred- 
erick Taylor, President Royal Society of Painters 
in Water Colors. 18 full-page colored plates. A 
beautiful and exceedingly useful book. Cassell & 
Co., London, 1884. Size, oblong, 10” x 7”. 


» Pe 


ee ee eT — ah ee a a Ps a aati ee ee ee 


2 SSE Set bs Soe 
a. 


pee a a 


EEN tae 


347. 


348. 
349. 


350. 


351. 


Uf 


} 346. TREES, AND HOW TO PAINT THEM IN 


WATER-COLORS. By W.H. J. Boot. 18 full- 
page colored plates, and numerous wood engrav- 
ings. Cassell & Co., London, 1883. Size, 10” x 


” 


—_ 


THE THEORY AND PRACTICE OF PAINT- 
ING IN OIL AND WATER-COLORS, AND 
LANDSCAPE AND AND PORTRAITS. By 
Professor T. H. Fielding. This is the fifth edi- 
tion of this extremely valuable book by a very 
great author, the brother of Copley Fielding and 
of Thales and Newton Fielding. 5 plates in col- 
ors and 28 in black and white, all by the artist 
himself. London, 1852. Size, 104” x 7”. 


iomaSs SULLY. HINTS TO YOUNG 
PAINTERS. Mr. Sully’s own work. This 
scarce book ought to attract attention; it is by 
a great artist. Philadelphia, 1871. Size, 814” 
Ses. 


HAMERTON. PAINTING IN FRANCE 
AFTER THE DECLINE OF CLASSICISM. 
Not the same as No. 340 of this catalogue. 14 
full-page illustrations. Boston, 1895. Size, 814” 
> Sy i 


PARISIAN ART. By Henry Bacon. With 55 
illustrations: Manet, Bastien-Lepage, Detaille, 
Vibert, Madrazo, Rico, D. R. Knight, etc. Bos- 
ton, 1083. ‘Size, 814” x 6%”. 


CLEOPATRA. The antique picture in encaustic, 
discovered in 1818. Inscribed to Baron Benne- 
val, of Sorrento, in Italy. By John Sartain, with 


; N De nN ee 
es 


78 


many of Sartain’s full-page and other illustrations, 
oPnee by Sartain, mie 1885. Size, — 
105 haya 


352. A COURSE OF WATER-COLOR PAINTING. ~ 
By R. P. Leitch. 24 full-page plates, in colors, — 
from his own designs. London, 1873. Size (ob- — 
long), 814” x 734". | 


353. ANIMAL PAINTING. The Artistic Anatomy of 
Cattle and Sheep. By B. Waterhouse Hawkins, 
F.L.S., F.G.S. With drawings on wood by the 
author. The author is the highest authority on 
these subjects. A. Schulze, printer, London (no 
date ie iZe7 one 


354. PHILIP GILBERT  HAMERTONS 3a 
SCAPE. His great work on this subject. Au- 
thor’s Edition. University Press, Boston, 1885. 
Size, 714" x 5. 


355. “THE COMPLEAT DRAWING BOOK, CON- 
TAINING MANY CURIOUS SPECIMENS. 
116 Copper-plates from LeClerc, Le Brun, Rem- 
brandt, Berghem, Barlow, Chatelin, Swain, and | 
others the best masters.” A rare old book, anda ~ 
quaint one; bound in velvet leather. Robert 
Sayer, London, 1762. Size, 8%” x 5%4”. The 
plates in this book are really remarkable. | 


356. THE ART OF PAINTING IN OIL) By“. Bard= 
well. London: Robert Laurie and James Whit- 
tle, successors to the late Mr. Robert Sayer, 1708. 
On the fly-leaf is written, “Samuel Scarlett, Bath, 
1806. N. B. This book is very scarce and rare.” 
Scarlett was the old curator of the Pennsylvania — 
Academy of the Fine Arts. He brought over my 


b 358. 


359. 


360. 


361. 


79 


Gainsboroughs. Size, 734” x 5”. The present 
Laurie is my London publisher. 


VIOLLET-LE-DUC. LEARNING TO DRAW, 
OR THE STORY OF A YOUNG DESIGNER. 
Illustrated by the Author. Translated from the 
French. ‘Was not published until after the death 
of its distinguished author,’ which “Le Duc’ 
really was. Full of illustrations. 1880, New 
mami. ize, O° xX 514". 


ART SUGGESTIONS FROM THE MASTERS. 
Selected from the works of Artists and other 
Writers on Art. Compiled by Susan N. Carter, 
principal of the Women’s Art School, Cooper 
Union. New York, 1881. Size, 74” x 434”. 


GEORGE FIELD. Chromatography. A Treatise 
on Colors and Pigments, and of their Powers in 
Painting. Inscribed to Sir Martin Archer Shee, 
President of the Royal Academy. With plates 
collected by the author. London, 1850. Size, 
O74" X 572". 

PeeMmeNtS OF THE PAINTER’S ART; OR 
A GRAMMAR OF COLORING. By George 
Field. Same author as No. 359. With 1o illus- 
trations, some colored. London, 1850. Size, 
Be. 5 

THE DULWICH GALLERY. Waagen, in his 
“Works of Art and Artists in England,” devotes 
twelve pages to this celebrated gallery, then 
(1838), connected with Dulwich College, near 
London. Many of the pictures he describes are in 
this splendid collection No. 361 of this catalogue. 
I would be afraid to say what I paid for these 
splendid plates, 42 in number, and all mounted 


362. 


363. 


364. 


365: 


POR CE 


80 


separately, and loosely placed in the large flapped 4a 
folio; but they have been an education in Dutch, — 
Flemish and English art to me during the thirty- a 
five years they have been in my possession. They | 
are the original plates, and colored by hand by a 
eminent artists and colorists. I have never seen 
or heard of a like copy or collection in this coun- 4 
try, and I can only hope that they will be appre- 4 
ciated in this sale; for then I know that they will — 
become teachers of art for someone else. 42 4 


plates. Size, including mounts, 2114” x 1614”. 


ETCHING IN AMERICA. With lists of Ameri- 


can etchers and notable collections of prints. By 


J. R. W. Hitchcock. New York, 1886. Size, — 


7, " x itt) 

FRANK HOWARD’S SCIENCE OF DRAW- 
ING. Part 1, Trees. These books by Howard 
have had a powerful influence. This is the Pick- 
ering edition, London, 1839. Size, 7” x 44%”. 


FRANK HOWARD’S SCIENCE OF DRAWING. 
Part 2, Animals. These important books are now 


very scarce. Howard was born in 1805, and died 


in 1866. Was a pupil of Sir Thomas Lawrence. 
London, William Pickering, 1839. Size, 7” x 
472". 
IMITATIVE ART. A MANUAL OF DETAILS. 
By Frank Howard. 28 illustrations. London, 
Darton & Clark (no date). Size, 74%” x 5”. 


THE SKETCHER’S MANUAL, THE WHOLE 
ART OF PICTURE-MAKING. By Frank 
Howard. This is the most important of Howard’s 
books, all, however, being very scarce. 27 beauti- 


4 


368. 


369. 


370. 


471. 


372. 


SI 


fully etched plates. London, Darton & Clark, 
eave ize, 76" x 434”. 


PROOFS OF PLATES OF FRANK HOWARD’S 
SKETCHER’S MANUAL. These are sepa- © 
rate duplicates. All rubbed down by the writing 
engraver before printing. (See note on fly- 
leaves.) There is no text in this volume, but the 
etchings are unique and splendid. Size, 74%” x 
4y2". 


THE NEW SCHOOL OF SCOTCH ART. Notes 
to the seventeenth exhibition of the Glasgow In- 
stitute of the Fine Arts. Containing 95 illustra- 

tions from Drawings by the Artists. Scarce and 
important. Glasgow, 1878. Size, 814" x 5%". 


BRITTON’S CATALOGUE RAISONNE of the 
Pictures of the Marquis of Stafford in the Gallery 
of the Cleveland House. (Presentation copy from 
the Duchess of Sutherland). London, 1808. 
ize, 1044" x 67%”. 


IMPERIAL MUSEUM OF VERSAILLES. (This 
is not the Louvre, but the great gallery “Con- 
secrated to the Glories of France.) <A thick 
volume, in Franch, of more than 1000 pages. By 
Eud. Soulé, Versailles. 1854. Size, 744” x 434”. 


MUSEUM OF THE LUXEMBOURG (not the 
Louvre). Catalogue Raisonné (complete), by 
Leonce Benedite. Curator of the Museum. (In 
Pree}, Pars.” oize, 754" x 538. 


GUIDE THROUGH THE GALLERIES OF 
PAINTINGS OF THE IMPERIAL MUSEUM 
of the Louvre. This contains much important 


373- 


374- 


ofa: 


376. 


377: 


378. 


82 


matter not in the later catalogues. It is in Eng- 


lish. Paris, 1858. Size, 75a" x ae 


THE GREAT BOOK OF FACSIMILES OF THE ; 


JAPANESE FINE ARTS. By H. Dolmetsch. 


With 50 full-page plates, in gold, silver, ional : 
and colors, of works of bronze, silk, paper, paint- a 
ing, etc. The finest and most noble book on the 7 


subject ever issued. Stuttgart, Julius Hoffman. 
Size, 13%" xg”. 3 


EGYPT. A portfolio of about 100 large woodcuts j 


of the antiquities of Egypt (plates mounted) ; 
many of these have not been published in books. 
Various names and dates. Size, 13%” x 114%”. 


LIFE AND REMINISCENCES OF GUSTAVE ~ | 


DORE. By Blanche Roosevelt, afterwards 


Countess Macchetta. Full of illustrations. Cas- © 


sell & Co., New York, 1885. Size, 9” x 6”. 
FRANCOIS XAVIER DE BURTIN, of the Royal 


1 


Academy of Brussels. Treatise on the Knowl- . 


edge necessary to Amateurs in Pictures. Trans- 


lated into English by Robert White, Esq. London, im 


1845. Size, 9" xs 34. 4 


GENERAL AND BIBLIOGRAPHICAL DIC- ™ 


TIONARY OF THE FINE ARTS. By James 


Elmes, M.R.I.A., a very thick and important — 


volume. London, 1826. Size, 9%” x 534”. 


THE SKETCHER. By the Rev. John Eagles, M. 
A., Oxon. The introduction tells all about the 
author and his work. 400 pages. London, Wm. 
Blackwood and Sons, 1856. Size, 84%” x 5%”. 


83 


JOHN BURNET. THE PROGRESS OF A 
PAINTER IN THE NINETEENTH CEN- 
TURY, containing conversations and remarks on 
Art. Two volumes in one. This is a most in- 
teresting book by a great artist and author. 
Poo, 1654. - 126, 8" x 5”. 


REMBRANDT. A biography, with splendid illus- 
trations, in the form of a romance. By Walter 
Cranston Larned. It is a study in art to read 
this surprising book; I have valued it highly. 
New York, Scribners, 1898. Size, 8144” x 5%”. 


MARINE PAINTING IN WATER-COLORS. By 
J. W. Carmichael, with 23 illustrations. <A 
pamphlet, but a capital one on an unusual sub- 
fee -Ondon, 1859. Size, 7" x 5”. 


CLAUDE DE LORRAIN. His biography, with 16 
illustrations and full catalogue of the “Liber Veri- 
tatis,” etc. By Owen J. Dullea. New York: 
Scribners, 1887. Size, 712” x 514”. 


STUDIO, FIELD AND GALLERY. A manual of 
Painting for the Student and Amateur. By Hor- 
ace J. Rollin. New York: D. Appleton & Co., 
boo. ize, 734" x 5". 


REVELEY. Notices of drawings and sketches by 
some of the most distinguished masters. With 
monograms, etc. By Henry Reveley, Esq. This 
is the most important book on this subject. It is 
sumptuously bound, and is quite inaccessible 
to-day. London, 1820. Size, 9” x 534”. 


PAINTING POPULARLY EXPLAINED. By 
Thomas John Gullick, painter, and John Timbs, 
F.S.A., author. London, 1859. Size, 7” x 4”. 


386. 


387. 


388. 
389. 


390. 
291. 
392. 


393: 


84 


HANDBOOK OF YOUNG ARTISTS AND — 
AMATEURS IN OIL PAINTING. Condensed _ 


from Bouvier. By A. A., an American artist. — 


New York: Wiley and Putnam, 1845. Size, 4 
77," ~ 434" Ae 


LEONARDO DA VINCI. With a Critical account 
of his works. By John William Brown, Esq. 
This is the best book on this subject, and its 
treatment is enchanting. London: Wm. Picker- ‘q 
ing, 1828. ° Size, 7132" see 7 


COLOUR. By A. M. Church, M.A., of Lincoln 
College, Oxford, with plates printed in colors. ~ 
London, Paris and New York. Size, 64%” x 4”. 


LECTURES ON PAINTING DELIVERED AT 
THE ROYAL ACADEMY. By Henry O'Neill, 
A.R.A. London, 1866, )\5iz6,)5 ae 


LECTURES ON PAINTING, delivered to the stu- 
dents of The Royal Academy. By Edward Armi- 
tage, R.A. New York: Putnams, 1883. Size, 
a" x ‘ai 


HORACE. WALPOLE.” ANECDOTES son | 


PAINTING IN ENGLAND. London: Ward, 
Lock & Co., Salisbury Square. Size, 74%” x 5”. 


WASHINGTON ALLSTON. LECTURES ON 
ART, AND POEMS. Edited by Richard Henry 
Dana, Jr. New York, 1850. Size; See 


C. R. LESCIE, R.A A HAND BOG Risa 


YOUNG PAINTERS. London: John — ® 


POH 52) Oise org ag 


85 


THOMAS COLE. HIS LIFE AND WORKS. By 
Louis L. Noble. Inscribed to Wm. Cullen Bryant. 
New York, 1853. Size, 73%" x 5”. 


SAMSON’S ART CRITICISM. By G. W. Sam- 
son, D.D., President of Columbia College, Wash- 
ington, D. C. Philadelphia, 1868. Size, 734” x 
TA u 

THOMAS COUTURE. CONVERSATIONS ON 
ART METHODS. Translated from the French. 
A most excellent and instructive book by a great 
French artist. New York, 1884. Size, 7” x5”. 


EUGENE FROMENTIN, PAINTER AND 
WRITER. By M. Louise Gonse. Translated 
from the French. Boston, 1883. Size, 844” x 


6% st 
WILLIAM SHARP. GREAT ENGLISH PAINT- 
ERS. London, 1886. Size, 674” x 47%”. 


. WONDERS OF EUROPEAN ART. By Louis 
Viardot. Illustrated. New York: Scribners, 
Boog  pize, 742" xk 5". 


LECTURES ON PAINTING. By the Royal 
Academicians, Barry, Opie, Fuseli. London, 
154e) 2 51z¢6, 734" x 414". 


THE EMPEROR NAPOLEON, spurred and 
booted, sitting in his cabinet and gazing out into 
the infinite. THE LASALLE miniature, on por- 
celain, framed, with soft protective packing, in 
a heavy gold-plated (not gilt) frame,: with the 
imperial wreath above it. The historic picture, 
from France, unique, splendid, and unapproach- 
able. Size of miniature, 644” x 434”. Size of 


frame, 1174” x 834". 


86 


402. IMPERIAL GERMAN TROPHY of the Conquest 


of France, 1870, and the consolidation of the 
German Empire, 1871. Berlin-iron. Germania, 
above her eagle, and with pen and wreath in her 
hands, and the surrounding border bearing the 
escutcheons of the twenty combined governments, 
studded upon a laurel wreath. Monogram of the 
artist, “T. S.’71,” arranged precisely as the mono- 
gram of our Thomas Sully. For “Berlin-Iron,” 
see No. 403. Circular, size 125@”. 


403. MYTHOLOGICAL FEAST OF THE ANCIENT 


404 and 


GODS OF GREECE. 

Multitudes of figures in a triumph of art. 
“Berlin-Iron.” Seventy years ago Berlin-iron was 
indeed a triumph of art; the casting came out 
with all the delicacies of bronze, and with more 
power and effect. The figures even were cast 
undercut; no finish except a light black-and-dead 
varnish was used. And the artists were of the 
highest. No. 402, dated 1871, was the most re- 
cent date I know of this splendid art. Circular, 
size 121%”. 


405. GEORGE WASHINGTON. MARTHA — 
WASHINGTON (his wife). Very clear and 
beautiful oleographs, mounted on canvas, and the 
figures on a dead background. Both are ovals, 
and beautifully framed. They are in oil colors, 
guaranteed, and bear washing, with cold water at. 
least. They date from 1864, were copyrighted, 
and came from Cincinnati. They are now scarce. 
Size of ovals, 1644” x 13%"; size of frames, 
22) x 19040: 


87 


406. THE DECLARATION OF INDEPENDENCE. 
This is simply a “Carrier’s Address” of the good 
old days, 1859, when the newspapers sent out such 
things instead of fashion plates. This engraving, 
sent out by the Philadelphia Ledger, is a splendid 
steel engraving, engraved and printed by Illman 
and Sons, and is, no doubt, very scarce now. The 
Declaration forms the center, above it is the scene 
of signing, and around it are steel portraits of the 
signers, with their names and numbers at the top 
of each, the whole engraved on steel. Size, 22%” 


x 19h”. 


407. CIPRIANI’S RUDIMENTS OF DRAWING. 
Engraved by F. Bartolozzi. These are the origi- 
nal plates, ten in number, and engraved and pub- 
lished by the artists themselves, February 28, 
1786. They are all proofs, and exceedingly rare, 
as well as beautiful; in one lot (407). Size of 
each of the ten, 164%4” x 1034”. 


408. LARGE WATER-COLOR. In the Catskill Moun- : 
tains, from the Upper Kaaterskill Lake, with the 
Kaaterskill Hotel above in the distance. I saw | 
the artist painting this picture. Size, 18” x 1134”. : 


409. THE WHITE FOG POURING UP KAATERS- 
KILL CLOVE, from the Hudson Valley below. 
Summer visitors to the Upper Catskills will rec- 
ognize this scene; the moist low air glides into 
the cool air of the mountain plateau, and in ten 
minutes the whole scene will be blotted out. I ob- 
tained this picture from the artist in his summer 
sketching hut. It is very broad in treatment and 
it wonderfully grows on one. Every feature is 
Pxagtoe Ize.) 12io xX 10 


1 
4 
| 
j 
i 
I 


88 


410. DRAWING IN CRAYON OF A BURNING RES- 


IDENCE, in the year 1859. Drawn on the spot. 
My friend, Mr. G. R. Bonfield, on a sketching 
trip, just above Camden and opposite Philadel- 
phia, suddenly came upon this scene and trans- 
ferred it as shown. It is powerfully drawn and 
is a weird scene. The spot is now a part of Cam- 
den, N. J. Sizé of drawing, 7” x 43%”. 


411. ORIGINAL DRAWING BY WINNER, for “Har- 


per’s Weekly.” OYSTERMEN, with their prod- 
uce on the wharf. Size, 8” x 6”. 


412. CHARLOTTE BONAPARTE, younger daughter 


413. A 


of Napoleon’s elder brother, Joseph Bonaparte, — 
who resided for years in his Park, at Bordentown. 
This soft-ground etching, which is beautifully 
done (lake, old trees, hills in the distance), is 
signed Charlotte, and on the back of the etching 
she has written that it was presented by her to a 
girl friend. An old artist, who knew her and saw 
her at work, told me that she would have made a 
fine artist. She was born in 1802; on her return 
to Europe she married her cousin, the son of King 
Louis, became a widow in 1831, and died, child- 
less, in 1839. Size, 11” x 814". | 


pair of splendid, antique, heavily-plated in gold, 
(not gilt), with dead finish, candle-sticks, with de- 
tachable sockets. A really remarkable, old (not 
very old) example of this art. They very much 
resemble the metal-work of No. 4o1 of this cata- 
logue (see Frontispiece) and would make capital 
companions of the Napoleon miniature, No. gor. 
Size, 7” high x 5” wide at the base. 


89 


; 414. ANTIQUE JAPANESE BRONZE DRAGON. 
F Coiled in a circle, but, if extended, would be 11” 
long. I really do not see how such a complicated 
article would be molded or forged, or even 
sculptured out. They do not make such things 
now in Japan, for foreigners at least. Size, 
(extended) 11”. 


415, 416. TWO ANTIQUE CROWN HEAVY-GLASS 
BOWLS. These are from Holland, and are 
not in this catalogue on account of the glass- 
cutting (which is not like that made to-day), but 
on account of the art of stapling the broken halves 
together water-tight. This is an art which, in its 
aha by Seon to the Dutch and Belgians. 
Sizes 10" X4"> 10 x2’. 


Arty. ELABORATELY ENGROSSED: AND EN- 
| GRAVED IRISH DOCUMENT. THE LAST 
SPEECH OF ROBERT EMMETT, ESQ., 
September 19, 1803. (Executed by the British 
Government, September 20, 1803.) Elaborate 
Memorial Engraving at the top, designed by Bar- 
ralet and engraved by Seymour. Size, 22" x U7 


- 418 Elaborately engrossed and engraved GENERAL 
CONGRATULATORY ORDERS OF THE 
COMMANDER-IN-CHIEF, FREDERICK. To 
the Horse-Guards, October 29, 1803. Splendid 
British Trophy at the top, Sela by Corbould, 
engraved by Chapman. Size, 29” x 20/2". 


4ig. Elaborately engrossed and engraved THANKS OF 
THE KING, THE SOCIETY OF EAST INDIA 
GOVERNORS, AND THE PATRIOTIC SO- 
CIETY OF LONDON; and the Royal Order of 
Knighthood, conferred on SIR NATHANIEL 


go 


DANCE, August 6, 1804. With elaborate en- — 
graving of the battle at the top, by James Fittler, — 
A.R.A., and the text engt ane. by Toms and — 
Neale.’ Size, 32” x 24”. 4 


420. CERTIFICATE OF MEMBERSHIP OF MR. — 
STEPHEN THAYER, in the BUNKER HIUCEs 
MONUMENT ASSOCIATION, to commemo- 
rate the battle, 17th of June, 1775. There are 
nineteen officers and directors, who have signed 
the certificate by their autographs, including Daniel 
Webster, Edward Everett, Governor Brooks, — 
Judge Story, and the others, historic names in ~ 
New England. At top is a fine large engraving 
of the battle, by Penniman. Size, 17"x 12%. 


421. Gettysburg Battlefield Memorial Association. Cer- 
tificate of Membership of JAMES L. CLAG- 
HORN. Surrounded by six battlefield steel-en- 
gravings, by F. B. Schell. The whole plate is 
beautifully engraved. Size,21Y%y" x 154%". 


422. THE VICTORIA SILVER MEDAL FOR GAL- 
LANTRY IN BATTLE. Tel-el-Kebir, The @ 
Nile, 1884-1885, Abu Klea. Relief Impress of 
Victoria, and of the Egyptian Sphinx, 1882, on ~~ 
reverse. Awarded (on milled edge) to PRIVATE 
T. GULULEN, 1/Scots.. Diameters = = 


423. Twenty-one pieces of Georgia Colonial and Revolu- 
tionary (Continental) paper money, 1776-1777- 
1778. The home-made wood-cuts are really ex- 
traordinary, and the autographs are rare, and of 
important historic personages of Georgia. I ob- 
tained these thirty-five years ago from a patient of 
mine, a descendant of these patriots then in 
Georgia, and in whose family they remained ever 


gI 


since. There is also a Colonial Pennsylvania 
paper nine pence, of 1772. This I obtained else- 
where. 


An uncut sheet of Confederate 10 cent Postage 
Stamps. These sheets, on account of poor press- 
work, were printed 24 on a sheet. I obtained this 
on the morning of April 7, 1865, from the Post 
Office in Farmville, Va., after our action there, in 
which we drove out the Confederates, and our men 
gutted and scattered the Post Office. I have had 
them ever since. I was then in Ord’s contingent 
of Sheridan’s command. 


Five Confederate notes and bonds (one for $500), 
of 1861, 1862, 1864, and one 5o0¢ note of Feb- 
ruary, 1864. I picked these up in the South, at 
various times during the War. I never bought 
any after the War, or in the North. 


CONFEDERATE ORDER-BOOK. I presume 
that this may be historic, and of importance, as 
It covers the Confederate orders up to January 

1, 1865. Probably no later ones were published. 
Early on the morning of April 9, 1865, on the 
Lynchburg Pike, west of Appomattox Court 
House, we attacked the Confederate trains, sup- 
ported by Gordon’s Confederate Corps, and tore 
them to pieces, covering acres of ground with their 
contents, and pushed on to attack Gordon, which 
we did (or else he us). Passing through the scat- 
tered library I picked this up and put it in my 
pocket, and have had it ever since. It was the 
last act of the Rebellion, and within two hours 
the Confederate white flag came through our lines, 
just alongside me. I was in General Ord’s com- 
mand. 


Q2 


; an 

427. WHAT PHILADELPHIA USED TO EAT IN- 
1787. A long and very curious catalogue, in large © 

bold type, of what this man of edibles had on — 

hand for customers, and the quantity of the stock 4 

of the various articles, some of which are exceed- 4 

ingly curious, and many of the names even are 

now quite unfamiliar. This is the original docu- — 

ment of 1787. a 


428. THE OLD LIBERTY-BELL. In Independence — 
Hall, Philadelphia, Pa. A fragment measuring — 
an inch and three-eighths by three-quarters of an q 
inch, and weighing five-eighths of an ounce, chip- — 
ped from the side of the crack by a workman in — 
the room forty years ago (the scar to match this — 
fragment still to be clearly seen). And with it a 4 
signed letter describing the circumstances and 
identifying the fragment; and directed to another, | 
a purchaser, in 1893, both well-known names of 
citizens of Philadelphia. 


429. TURQUOISE. These seven specimens of turquoise 
are not only valuable in themselves, and when cut 
would be quite valuable, yet, to me, they are far ; 
more valuable as they are; for they illustrate, as 
it were, the process of manufacture of the tur- ~ 
quoise in the special soft white trachyte. I picked 
these specimens myself from a very productive tur- 
quoise mine in the Jarilla Mountains, Otero 
County, New Mexico, in 1881. . 


430. TWENTY-TWO MISCELLANEOUS MEDALS. 
Picked up as chance offered during many years. 
They are all interesting, and never culled out. 
Among them is the medal with Irish Harp on one 
side and George IV on the other, issued to 


93 


-signalize his Royal Progress in Ireland about 
1822. Also a beautiful coin medal 4%” in diam- 
eter, with beautiful bust on one side and symbolic 
emblems on the other. Could it be a “widow’s 
mite” piece? It has been hung on to a little chain. 


| 431. MISCELLANEOUS COINS. Never culled, but 

| picked up during many years. There are ancient 
Roman coins, one I see of Claudius Cesar; one of 

Louis XVI; four of Napoleone Imperatore, and 
the remainder of nearly all nations of the earth; 
Arabic, Turkish, Liberian, and from parts of South 
America, Upper and Lower Canada, and in fact 
enough to make one a good student of geography 
and history. ‘They are of all ages, from all parts 
of the earth; they even bewilder me. 


_ 432. HINDOO CEREMONIAL SWORD. I do not 
| know much about this, but I have had it a long 
time; it is made up, blade, haft, pendant and all, 
i entirely of 160 Hindoo coins, of small value, on 
a wrought-steel rod inside. It is heavy and queer- 
looking, and required a lot of work to get it up. 

Size, 22” long, x 4” wide at cross-piece. 


433. READ, THOMAS BUCHANAN. Portrait from 
Life of Vice-President Dallas. To verify the 
portrait I have pasted a copy of a miniature of 
Dallas on the back, and Mr. Frederick Gutekunst, 
my friend, who recognized the portrait at once, 
gave me a photograph, which is attached to my 
picture. It was painted by Read in Philadelphia, 
in 1846 (see Appleton’s Cyclopedia of American 
Biography, “Read’”’). The artist has darkened his 
hair a little, as artists do, not to make him look 
too old. To verify the artist, he went to Paris, 


94 


from Philadelphia, in 1850, and took this unsold 
portrait with him. It was painted on tar-board — 
a quarter of an inch thick. When there he 
painted on the opposite side his splendid picture 4q 
of the children playing, No. 203, of this catalogue, 
of which I have not said half enough. When I — 
obtained the picture, very many years ago, which ~ 
was signed and dated in Rome, it was framed as 
it now is. Taking it out of the frame I found ~ 
the Dallas portrait had been painted on the back. — 
As the tar-board was thick enough, I had it care- — 
fully split, and had two pictures instead of one, 7 
and the signature on one guaranteed the other. — 
This Dallas portrait is a most beautiful picture, — 
and shows the man, as the man he was. Size, 16” 
x 13%4”. Framed. | : 


434. WILLIAM DOUGHTY, the English artist, pupil 4 
for three years of Sir Joshua Reynolds. I just © 
sold one like those which follow for $35. I ob- — 
tained what the artist left behind him in England. 
THE WATERING PLACE, FRONTING THE 
ROYAL PALACE OF MARLI. This isascene — 
of splendor, and of costumes 125 years ago. The ~ 
colors are brilliant. Size, 19” x 10%”. | 


435. VIEW OF PARIS IN 1794. From the middle of * 
the Pont-Neuf. Crowds of people and carriages, — 
boats and costumes of the period. Signed “Wm. 
Doughty, pxt.” Designed by Rigaud. Size, 19” 
x 104”. 

436. VIEW IN. LONDON, AT ST. JAMESS a 
This is very interesting, as it dates from 1755, 
and shows various bodies of British troops (in- 
fantry) performing their evolutions, all over the 


Pe ne oe ae ee 


25 


picture. The uniforms are clearly and beautifully 

_ painted in their correct shapes and colors. These 
were the troops who, under Wolfe, two years 
later conquered all French Canada, after the fall 
of Quebec.. I know of no other picture of these 
soldiers in detail. Size, 17” x 10”. 


§ 437. A VIEW OF PARIS FROM THE CHURCH OF 
: NOTRE DAME (which is shown in the fore- 
ground). ‘The river Seine, the buildings beyond, 
freight barges on the river, and all sorts of wag- 
ons, carts, coaches, pedestrians, horseback riders, 
beeeetates 11001 1704. Size, 1914" x 1034". 


oe ovo THER PALACE OF VERSAILLES. 

ay _ Masses of vehicles, people, carts, wagons, debris 
of all sorts, royal equipages, etc. The date is not 
given, but is obviously just preceding the French 
Revolution. It is, to me, a wonderful revelation 
of the scenes of that period. The whole splen- 
eeemecoorea.. 317e, 17° x gir”. 


439. -THE CORSI AND THE VIVIANI PALACES 
i@ AT FLORENCE. Designed by Zocchi; painted 
by William Doughty. Italian coach, pedestrians, 
horseback riders, etc., in the streets, with the 
massive palaces beyond. Dates from 1794. Size, 
18” x 1144”. 


_. 440. VENICE. The Grimani and Foscarini Palaces, with 
| the Grand Canal crowded with gondolas and other 
craft. Designed by Ant. Canalette; painted by 
William Doughty. No date, but of course of 
Doughty’s period. A capital study of street ar- 
chitecture and boatmen and boats, etc. Size, 18” 
ob ae 


441. THE GARDEN IN FRONT OF THE PRINCE 


443. MEIN STEIN. This young Dutchman is alive; if 


444, 445, 446. THE LONDON ART JOURNAL. 1850 _ 


96 


OF ORANGE’S (now the Queen’s) HOUSE IN — 
THE WOOD, near the Hague, Holland. The 
picture is dedicated to His Highness the Prince — 
of Orange. Dates from 1794. This is a very :. 
beautiful and richly painted picture, irrespective — 
of the scene portrayed, costumes, etc., and espe- — 
cially a gig, horse, and male and female occu- 
pants, ; Sizes 17" eae ' 


THE OBELISK OF LUXOR. Which stood in © 
front of the great Temple of Thebes, since its — 
creator, Rameses II, placed it there 3200 years q i 
ago. The obelisk is of beautiful red granite, cov- . 
ered with inscriptions, and 72 feet in height. In — 
1826 it was removed to Paris, and on a pedestal © 
and base provided, now stands in the Place de la _ 
Concorde, in Paris. This is an exact facsimile, — 
in petto, in genuine bronze, with every cartouche — 
and hieroglyph reproduced, and stands on its ped- q 
estal and base, around which is a vertical bronze — 
railing. I have had it forty years, and it is splen- — 
did. Size, 1014” high, diameter of base 4”. 


you look steadily you can see his mouth twitch. 
And he is contented with all the world. Whata — 
smile; and thoroughly well painted in oil, on ~ 
canvas, and framed in an antique frame. Size, 
24” high, 1414” wide. : 


and 1851, half morocco; 1875, full morocco. It 
is unnecessary to describe this journal of world- 
wide renown, except that the first two are old and 
now Scarce. Size) 13" xo 


ee ee oven 


ih 


D. HUNTINGTON, M.A. (see No. 14). MAN- 
UAL OF THE FINE ARTS. New York, 1875. 
ige Te) 5°. 


THE MASTERS OF GENRE PAINTING. By 
Frederick Wedmore, with 16 illustrations. Lon- 
don, 1880. Size, 8” x 51%”. 


ANNA MARY HOWITT. THE ART-STUDENT 
IN MUNICH. Has the Ober-Ammergau Mir- 
acle-Play, and many art-ceremonials and displays. 
A standard book, now scarce. Boston, 1854. 


Size, 714" x 5”. 


AN EXCEEDINGLY CHASTE AND BEAUTI- 
FUL WATER-COLOR of a young girl. By 
Pon ocanne!, framed, and in mat. Size; 11” 
apie ee 

For those who like such technical art-work. A storm 
at sea; boat and crew; ship half-wrecked; light- 
house; and a capital marine as a picture. Yet it 
is entirely woven of various colors of silk threads. 
Marvelous, before the day of Jacquard. Size of 
picture,6” x 2”. Size, framed, 1144” x 9%”. 


Three capital folding” panoramas. 

1. The Rhine, from Maintz to Cologne. (En- 
Pate ee asize. 112" x8". 

@eoavenice. Size, 7” x 5”. 

Geer Ompeil, Size, 7° x 5”. 

No. 1 is particularly fine, and all have been of much 
use to me. 


Alto-relief, hand-carved out of terra-cotta; ancient 
and elaborate art-group of THREE LITTLE 
CHERUB MUSICIANS, with French horn, 
drum and zither, making a concert. I have had 


454. 


455. 


456. 


457. 


98 


it all of forty years. It is framed under glass, 
requiring a very deep frame, made for the pur- a 


pose, and is full of art and fine treatment. The 


carving is gilt, now slightly tarnished by age, but 
which, for me, improves the appearance. Size, — 
id’ x tabae q 
RICHARD WILSON. The Cascatella and Villa — 
of Mecaenas, in Italy. Colored by hand by a 
great artist. The original picture is in England. — 
This is a capital and brilliant facsimile. Size of 
picture, 914” x 7”. Size of card-mount, 21144” — 
dy te VS : 


SIGNING OF THE DECLARATION OF INDE- 
PENDENCE. After the picture of John Trum- 
bull. Engraving on steel by H. S. Sadd. Size, 
EK 2Anu 


TH. ROUSSEAU. (See No 206)))) Two private 
photographs of his drawings made for himself, 
or by himself, for further identification. Never 
published; both signed “Th. R,” as usual. One 
is a wild storm-scene landscape, and the other a 
beautiful shore scene from the sea. Both in one 
lot. Size, 10%” x 714”. 


ELEVEN YOUNG APACHE INDIANS; one pho- 
tograph as Prisoners at Fort Marion, Fla., and the 
other, six months afterwards, as, under educating 
influences, at the Carlisle Indian School. Each 
Indian, boys and girls, are named, so that the 
marvelous change can be clearly seen. Any one 
who reads Captain John G. Bourke’s “An Apache 
Campaign’ (1886), will learn how these Chirica- 
hua Apaches (the wildest and fiercest of all the 
Red Indians), were taken, far down in Old Mex- 


’ 


99 


~ ico, in 1883. In 1881 I was living among the 
Mescalero Apaches, in New Mexico, and also with 
our Navajo scouts. 

I do not think the Government ever sent out a 
stronger missionary for the conversion and fair 
treatment of our Indians than these two large and 
beautiful photographs. At Fort Marion they were 
savage animals, and six months at Carlisle made 
them ladies and gentlemen. I have had these 
photographs, and used them as. missionaries ever 
since they were issued. They are handsomely 
Tramed. Size, 16” x 14”. 


458. JOHN A. WOODSIDE. Two dogs, of different 
breeds, ready for battle. This is a very powerful 
and vivid picture. (It is the best and most effective 
picture by him that I know of.) It is an oil- 
painting, and framed. (See Nos. 168 and 169.) 
Size, 1414” x 1044”. 


459. ALBERT DURER. THE PASSION OF OUR 
“LORD JESUS CHRIST. Unless connoisseurs of 
art have this collection, they ought to have it. It 
is the set of Durer’s engravings, facsimiles, made 
under direction of the Director of South Kensing- 
ton Museum, London. The reprint was published 
in 1844, and soon exhausted. This edition is 
virtually the same as that of 1844. 38 full page- 
plates, and the text printed in black letter. Bell 
and Daldy, Chiswick Press, London, 1870. Size, 
Qg x 64”. 

460. THE LANTERN IN THE GRAVE-YARD. This 
old Dutch oil-painting, which I have had so many 


years, appeals to me as few other pictures do. 
A night-scene; an old Dutch peasant and a child 


a ee ae oe, 
ay ohne or | 


100 


with a lighted lantern in an old grave-yard with — 
half-tumbled-down tombstones, and great trees — 
looming over-head. It is by no means a melan- q 
choly picture, no more than Gray’s Elegy is mourn- ‘| 
ful. A great towered church dimly appears in the © 
distance. It is beautifully framed to suit. Size, 4 
16” x 1214”, 


4okn MAUCH CHUNK, PENNA. Acolored map in de- — 
tail of the city of Mauch Chunk, as it was in 1826. — 
It is from the original, which I gave to Mr. Charles : 
Lippincott, who was born there in 1823, stipulating 
that he should prepare and give me this fascimile. 
It is not like a map; the original describes it as a 
sketch. The surveyor and draughtsman signed — 
his name S. W. R. It belongs to the same class 
as No. 31. Size, 154" x12. 


462. PORTRAIT OF JESUS CHRIST. From life (so 
it purports to be.) This is an archaic curiosity, 
and capital art-work as well. The “Greate Turke”’ 
presented to Pope Innocent VIII (1484) as a 
bribe for his brother’s release from captivity, the — 
great emerald having this intaglio carved in it. 
This entire subject, text and all, was then painted 4 
in oval on a gold ground, and it is said to be still _ 
in the Vatican. Richard Godfrey, a fine English © ‘ 
engraver, who was always on the look-out for en- 
graving antiques, made this copper-plate line en- 
graving in 1780 or 1790, and this is a very rare 
proof impression. Size, 11%” x 914”. 


463. ANDREW FISHER BUNNER, A.N.A. Thecata- — 
logue of the celebrated Seney collection sale in 
New York, 1891, contains a complete biography of 
Bunner. The 103 pictures of the Seney sale net- 


IOl 


ted $962,000. I have a priced catalogue, and the 
names of the buyers. 


Born in New York, 1841; studied five years 
in Germany, France and Italy; associate National 
Academy, 1867; went to Venice in 1882, where 
he remained. 

This landscape, No. 463, is delicious in its 
harmony and depth. It has been greatly admired 
by connoisseurs. It is framed. Size of painting, 
which is in oil, is 12” x 9”. 


464. HENRY BRIGHT. This splendid English land- 
scape painter was born in 1814, and died 1873. 
Member of Institute of Painters in Water-Colors; 
exhibited frequently at the Royal Academy, and 
Queen Victoria bought several of his works for her 
royal collection in the palace. 

This No. 464, is a Chromolith, but it is an 
early one, 1853, when this art was at its best. I 
have pasted on the back one of Bright’s own per- 
sonally executed lithographs, to show the style 
here of his indirect work; I have several of these, 
which are much admired, and are scarce. Size 
of picture, No. 464, 1514” x 934”. 


465. VANDERGUCHT. Line engraving on copper of 
No. 5 of this catalogue. ‘Don Quixot bound to 
an Unlucky Pack of Moritarnes. Car. Coypel | 
Pinx.” As this is the engraving of the original 
picture, No. 5, it establishes the genuineness of the | 
picture itself, and also of the artist who painted : 
it. This is, besides, a capital engraving, and is : 
framed. Size (framed), 814” x 814”. 


466. 


467. 


A468. 


469. 


102 


VANDYCK. His picture of Charles I, eeadine at 
the head of his horse, with attendant behind. 
What this reproduction is, I can hardly say. 18 
a photograph in dead color, it is not from any 
engraving, for it is superior in effect, and in art, 
to any print I ever saw of the subject. I feel a 
that it is from the original, which gives it its 


value.. Size of reproduction, 7” x 9”. 


THE GUITAR PLAYER. A young girl stands in 
a grassy field holding a Spanish guitar with both 
hands across her body. It is painted on silk in ‘ 
tones and colors which are diaphanous. It has the 

monogram ‘““M. R.”. It is framed in golden col- | 
ored silk plush, and to me is a beautiful and extra- q 
ordinary work. Size of picture, 1714” x 8”. Size — 

of frame, 2614" x 17”. | 4 


BUFFALO HEAD. Large and correct photograph, q 4 
from life. It is from Colorado, and is a capa 
representation of this majestic animal in its wild 
state, now practically extinct. Size, 19” x 15%”. 


CEREMONIAL BUFFALO HORN. This is gen- q 
uine and authentic. I picked it up in northern 
Colorado or Nebraska or South Dakota, where — 
it was used for Indian medicine and magical pur- B 
poses. When so used a bunch of parti-colored 
feathers was stuck in the open end. The base 
half is natural, the pointed half has been cut down 
and laboriously polished by friction with the hands. 
Note the black color. This part is the doctor’s 
handle. This practice is described by Catlin, Grin- 
nell and others. It was the Pawnees who used this 
particular one. Compare with the horns in No. 
468. Size, 14” x 3%” across the base. 


470. 


471. 


473. 


474. 


475. 


476. 


103 _ 


THOMAS BUCHANAN READ. Two large and 
beautiful photographs of THE LOST PLEIAD . 
and THE CHRISTMAS HYMN, painted and 
photographed in Rome, 1871. Compare with No. 
203 and No. 433. Sizes, 7” x 9” and 9%” x 7”. 


Four large photographs by ADOLPHE BRAUN of 
the most celebrated pictures by BACKHUYSEN. 
These are splendid examples of a great artist, of 
great pictures, and by a remarkable photographer. 
izes, 1054" x 614” to 16” x 1134”. 


W. VAN DE VELDE. Two large photographs, by 
Braun of Dornach, of the most important pictures 
of the above artist, now in the National Gallery, 

meeenoland. size, each, 17” x 14”. 


VIVE LA COMMUNE. The Wild Days of the 
Commune in Paris. Painted by Jean Beraud, 
photographed by Braun. Size, 18” x 13”. 


THE AMERICAN EAGLE. A splendid framed 
photograph of this bird, evidently a product of 
the taxidermist’s art, and so, of tourse, from na- 


ture. Compare with No. 13 of this catalogue. 
size, 20 x 1634". 


FOUR SPLENDID FRENCH CHROMOLITHS. 
By Desandre. Executed in Paris, and published 
by M. Knoedler, New York. ‘These are the gen- 
uine old French chromoliths (figure subjects), 
since replaced by cheaper processes. “They date 
from about 1863. Size of plate in panel, 17” x 
1034”. 


EXTREMELY RARE HISTORIC AMERICAN 
DOCUMENTS. Old fac-similes in type, style, 
design and paper. 


| No. 1. The Royal Charter of Pennsylvania, fro q 


477: 


478. 


479. 


A48o. 


104 


King Charles to William Penn, pate corrections 4 
in ink. Date, 1681. Size, 14” x 12” ; 


No. 2. Proclamation of the Council of Safety, signed — 
by David Rittenhouse, Vice-President, Philadel- — 
phia, giving notice and warning of the advance a 
of General Howe’s army from Brunswick to a 
Princeton, and on Philadelphia, December 8, — 
1776. Size, 14a (eee a 


No. 3. Proclamation calling for the illumination of . 
Philadelphia on the glorious occasion of the sur- — 


render of Cornwallis at Yorktown, from the offi- 


cial papers of Colonel Tilghman, just received, 
October 24, 1781.° Size i473, tes 


WASHINGTON’S COACH. Picture in colors. — 
This old relic used to be down at Kingsessing, — 
and a very old friend of mine used to take his — 
affianced wife down to sit init. Size, 11” x 8%”. 


MAJOR ANDRE. Fac-simile of a young woman ~ 
drawn by this gallant and unfortunate English — 
soldier. Also, on same sheet, fac-simile of a Ticket © 
for the Mischianza (Revolutionary). Size, 1514” ~ 
pret Re 

VIEW OF PHILADELPHIA, and, around it, pic- 
tures of ten various important buildings. Dates — 
about to 1845 or 1850. 


MARKET STREET, PHILADELPHIA, and the 
cross-streets at Third or Fourth Street, when the 
steam railroad ran across Market Street, with 


a train of freight cars and horses to pull them. 4 | 


This is a large and well-executed drawing of many — 


105 


buildings, and dates from about 1852. Size of 
drawing, 23” x 1544”. The picture is beautifully 
framed. 


GEORGE WASHINGTON. Engraving (both 
sides) of Gold Medal presented to General Wash- 
ington by Congress on the evacuation of Boston, 
March 17, 1776. Size of engraved plate, 12” x 
1G) 


482. CHRIST’S CHURCH, PHILADELPHIA. Three 
illustrations, Communion Plate and other vessels 
presented to this church by Queen Ann, 1708 (on 
one sheet). Size, 12” x 10”. 


483. AN ARAB EGYPTIAN. A really splendid paint- 
ing in body-colors, in his street robes. Size of 
water-color drawing, 20” x 13”. (Signed J. F. 
M.) To verify the details, there is added in this 
lot S. J. Ferris’s beautiful etching of Gerome’s 
“Old Clothes Dealer of Cairo.” Size of etching, 
ri’ x 8%”. 


484. JOHN VARLEY. An original drawing, in black 
| and white and tone, a house by the water-side 
with boats and figures. It is a very beautiful 
drawing by an eminent British artist. See Red- 

grave for his full biography. 

Born, 1778; died, 1842. Was one of the 
founders of the British Water-Color Society; ex- 
hibited regularly at the Royal Academy until the 
Water-Color Society was established. 

This drawing is a perfect gem, and-his origi- 
nal drawings are rarely met with. Size, 94” 
me. 


106 


With this drawing are included in the same 

~ lot, No. 484, two beautiful ‘fac-similes of his 
drawings, by F. C. Lewis, the master of fac-simile 
work. Size, 1074” x 71%”. These also are very 

_ beautiful and are quite scarce. a 


485. The Cottage in the Wood. An English scene, from. 
Nature. GEORGE R. BONFIELD. Born in: 
Southampton, England; died in Philadelphia, Pa. 
Beautiful and elaborate sepia drawing, heightene 
with chalk. Size, 101%” x 7”. | 


486. CHARLES FRANCOIS DAUBIGNY. “Freda 4 
artist, born 1817; a leading artist of the Barbizon 
School. Pupil of Delaroche. He was also an 
excellent etcher. | wf 

No. 486 is a painters a proof impres- — 
sion of “Clair de Lune a Valmondois.” That is 
to say, he painted the picture himself and then 
made this etching from his own picture. Size of © 
etching, 914” x 614”. 

To accompany this, as part of lot No. 186, | 
is a capital lithograph, by Appian, of Daubigny’s- 
“Valley of Opteroz” (1855). Size, 11” x 534”. 

Compare also with his original drawing Noll 
191. These three, his own, drawing, his own 
painter-etching and the lithograph, will ilustraeel 
the massiveness, the great characteristic of this 
great artist. 4 


487, THE PRINCESS ILSE. An original and maenitll 
cent photograph, by Hanfstaengl, in Munich, of | 
the great picture by W. KRAY, symbolizing, as” 
a maiden, the beautiful flower-bordered river Ilse. 
The photograph is direct from the artist himself 4 


107 


and from the picture, both registered. Size of 
photograph, 2014” x 1534”; size of mount, 35” 
x 274%". Would frame splendidly; it is valuable 
and high-priced; I have had it ever since it was 
issued, and never have seen another. 


488. TWO ANCIENT RAW-HIDE TRUNKS. Cow- 


skin with the hair on, shrunk on while wet. The 
smaller one is studded with brass nails, and has 
monogram, D. M., my great-grandfather’s name, 
by the way, in an oval of brass nails. It is at 
least 125 years old, and the larger one still older. 
I have used these for many years for holding 
prints and drawings. Size of smaller one, 27” 
long, 16” wide and 12%” deep. Of larger one, 
43. x 21” x 17”. Such examples are now very 
rare, and are to-day as useful as they ever were. 


END OF CATALOGUE 


108 


NOTE TO CATALOGUE 


The manager of the Philadelphia Art Galleries, Mr. 
Bare, has, in his office, a folio of loose sheets of card-board, 
18” x 24” in size, on which, properly arranged in groups, 
are what I call “verificators’ of such pictures as may re- 
quire identification, and which can be taken out and com- 
pared with the pictures themselves. Among these I par- 
ticularly note my Rembrandt of 1660, No. 136 of this 
catalogue; as a photograph of the philosopher and his 
accessories, stand beside the philosopher and his acces- 
sories in his picture of 1633, in the Louvre. Even a 
cursory comparison will show that, while by the same artist, 
they are totally different pictures, and of different periods 
in his practice of art. No copyist could ever make such 
changes, as he would defeat the whole purpose of a copy. 

As a matter of fact, the “philosopher,” with his red 
cap, broad forehead and bushy whiskers, in his Louvre 
painting of 1633, belongs to the brachycephalic ethnic type, 
while the real philosopher, in my picture of 1660, is much 
taller, has no cap, and, with his narrow head, belongs to the 
dolicocephalic ethnic type; different races, in fact. 


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